The 

Preparation    'of   JVlanuscripts 
for    the   Printer 


Containing  Directions  to  Authors  as  to  the  Manner 

of  Preparing  Copy  and  Correcting  Proofs, 

with  Suggestions  on  the  Submitting 

of  Manuscripts  for  Publication 


By 
FRANK  H.  VIZETELLY,  Lnrr.D.,  LL.D. 

Managing  Editor  of  the  Standard  Dictionary 

Member  of  the  Society  for  the  Encouragement  of  Arts, 

Manufactures,  and  Commerce 


FIFTH  REVISED  EDITION 


FUNK  &  WAGNALLS  COMPANY 
NP  , LONDON;  »'-i 


COPYRIGHT,  1905,  1911,  and  1912,  BY 
FUNK  &  WAGNAI^S  COMPANY 
{Printed  in  the  United  States  of  A  merica} 
First  Edition  published  October,  1905 
Fifth  Edition  published  January,  1913 


/f/3 


PREFACE  TO  THE  FIRST  EDITION 


In  the  printing  of  books  the  most  costly  item— 
the  item  that  eats  up  the  profits — is  that  charged 
to  authors'  corrections ;  these  corrections  are  due 
mainly  to  ill-prepared  manuscripts.  The  purpose 
of  this  book  is  to  point  out  the  manner  in  which 
manuscripts  should  be  prepared  so  as  to  reduce 
to  a  minimum  the  cost  of  authors'  corrections. 
It  contains,  in  addition,  information  bearing 
directly  on  the  technicalities  of  typography,  and 
various  rules  of  orthography  and  punctuation,  as 
well  as  other  aids  to  the  making  of  books,  which 
it  is  hoped  will  prove  of  value  to  authors  and 
printers. 

One  section  is  devoted  especially  to  suggestions 
on  the  submitting  of  manuscripts  for  publication 
and  explains  the  processes  through  which  manu- 
scripts are  put.  Effort  has  been  made  to  treat 
the  various  sections  briefly,  so  that  the  informa- 
tion given  may  be  more  readily  available. 

With  the  permission  of  the  Funk  &  Wagnalls 
Company,  frequent  use  of  the  "Standard  Die- 

285725 


iv  Preface 

tionary  of  the  English  Language"  has  been  made 
in  preparing  the  following  pages. 

Thanks  are  due  to  Messrs.  Doubleday,  Page  & 
Company  for  permission  to  quote  from  "A 
Publisher's  Confession." 

F.  H.  V. 

NEW  YORK,  September,  1905. 

PREFACE  TO  THE  FIFTH  EDITION 


The  first  edition  of  this  little  book  was  received 
so  favorably  by  a  discriminating  Public  that  the 
Publishers  felt  encouraged  to  issue  a  second  edi- 
tion. This,  being  quickly  exhausted,  was  fol- 
lowed by  a  third  and  a  fourth  until  this,  the  fifth 
edition,  revised,  somewhat  enlarged,  and  brought 
up  to  date  by  the  addition  of  data  concerning 
the  copyright  laws  recently  adopted  by  the  United 
States  and  Great  Britain,  is  presented,  with  the 
hope  that  it  may  find  the  same  favor  as  its  pred- 
ecessors. 

F.  H.  V. 

XEW  YORK,  December,  1912. 


CONTENTS 


PREFACE iii 

I    The  Preparation  of  Manuscripts      ....  ^  I 

II    Orthography n 

III  Homonyms 22 

IV  Rules  for  the  Simplification  of  Spelling    .     .  25 
V    Capitalization 34 

VI    Punctuation       . 37 

-VII    Explanatory  Notes  and   Examples  of   Punc- 
tuation       43 

VIII    Indexing  .     .                54 

IX    Proof-reading   .     .           59 

X    Sizes  of  Types,  with  Notes  on  their  Uses     .  66 
XI    How  to   Compute  the   Space  that  a   Manu- 
script Will  Occupy 70 

XII    Names  and  Sizes  of  Paper  for  Writing  and 

Printing 72 

XIII  On  Making  Up  a  Book 75 

XIV  Illustrations 77 

XV    On  Submitting  Manuscripts  for  Publication  85 

XVI    How  to  Secure  a  Copyright 103 

XVII    Glossary  of  Technical  Terfns  in  Printing     .  112 

INDEX 141 


THE   PREPARATION  OF  MANUSCRIPTS 

IN  preparing  a  manuscript  for  the  printer,  care 
should  be  taken  (i)  to  use  paper  of  uniform  size; 
(2)  to  number  each  sheet  consecutively  in  the 
top  right=hand  corner;  (3)  to  allow  a  margin  on 
the  left =h  and  side  of  the  paper  used,  the  width  of 
which  must  depend  upon  the  size  of  the  paper 
itself;  (4)  to  write  with  black  ink  or  to  manutype 
with  a  black  record  ribbon,  as  colored  inks  are 
less  legible  and  are  harmful  to  the  sight  ;  (5)  to 
follow  a  standard  guide  in  all  matters  of  orthog- 
raphy. 

All  writing  should  be  plainly  legible,  and  be 
only  on  one  side  of  the  paper;  slovenly  or  ill= 
written  manuscript  is  more  costly  to  set  in  type, 
as  operators  and  compositors  take  more  time  to 
decipher  illegible  writing  and  to  play  it  on  the 
typesetting=machine  or  to  set  it  up  by  hand. 

Nothing  should  be  left  to  conjecture.  If  the 
original  manuscript  is  heavily  interlined  it  should 
be  rewritten,  and  care  taken  to  write  the  interlin- 
eations in  their  proper  places  in  the  body  of  the 
text ;  then  the  two  should  be  carefully  compared. 

i 


•2 ;     The  Preparation  of  Manuscripts 

This  will  not  only  save  time  in  composition 
and  proofreading,  but  will  also  reduce  the  ex- 
pense of  authors'  corrections  in  proof. 

Every  sentence  should  be  punctuated  correctly, 
so  as  to  guard  against  ambiguity.  .  Long  sen- 
tences should  be  avoided  ;  brevity  insures  lucid- 
ity. Be  comprehensive,  yet  concise. 

The  author  of  a  manuscript  may  save  consider- 
able expense  if,  besides  giving  attention  to  the 
subject=matter  and  the  literary  style,  he  edit  his 
own  copy.  This  last  consists  of  preparing  the 
manuscript  practically  for  the  printer.  Editing 
includes  (i)  the  securing  of  a  uniform  typo- 
graphical style  throughout  any  production  ;  (2) 
the  indicating  of  paragraphs  where  they  should 
occur;  (3)  the  adopting  of  a  system  of  punctua- 
tion, that  the  reader  may  correctly  interpret  the 
meaning;  (4)  the  systematic  application  of  rules 
governing  capitalization  and  spelling  ;  (5)  the 
inserting  of  chapter=headings;  (6)  the  supplying 
of  headlines  or  box=heads,  and  many  other  de- 
tails, such  as  the  preparation  of  a  preface,  a  table 
of  contents,  and  an  index.  This  labor,  often  un- 
dertaken by  publishers  at  the  request  of  authors, 
is  costly,  but  the  expense  may  be  avoided  by 
authors  who  edit  their  own  manuscripts  after 
having  completed  the  creative  work.  Most  writ- 
ers who  read  over  their  manuscripts  a  few  days 


The  Preparation  of  Manuscripts      3 

after  having  written  them  will  notice  how  readily 
they  can  lighten  the  text  by  substituting  simple 
words  for  others  of  a  ponderous  character.  No 
ambiguous  statement  should  be  retained.  All 
verbosity  ought  to  be  eliminated. 

No  manuscript  should  be  corrected  as  if  it  were  a 
proof.  All  alterations  required  should  be  plainly 
marked  in  the  body  of  the  subject=matter — not  in 
the  margin,  as  is  done  on  a  proof.  Whenever  an 
abbreviation  or  an  abbreviated  word  is  to  be 
printed  in  full,  a  circle  should  be  drawn  around 
it  with  a  pen  and  ink. 

HOW   TO   SECURE   THE   BEST   RESULTS 
FROM   THE    PRINTER 

By  following  seriatim  the  suggestions  made 
below,  the  author  will  secure  the* best  results  from 
the  printer. 

1.  Indicate  paragraphs  clearly.      If  attention 
has  not  been    paid    to    paragraphing   while  the 
subject=matter  was  in  preparation,  the  paragraph 
may  be  indicated  by  marking  on  the  manuscript 
the  symbol  *[[  wherever  a  paragraph  is  required. 

2.  Underline  all  titles — as,   of  chapters,  sec- 
tions, etc. — clearly  ;  also  all  passages  which  re- 
quire emphasis.     Note  that  a  single  line  drawn 
under  a  word   denotes   that  it  is  to   be   set   in 
italic  type ;   that   two  lines   denote   the  word  is 


4      The  Preparation  of  Manuscripts 

to   be   set  in  SMALL  CAPITALS  ;  that  three  lines 
denote  it  should  be  set  in  FULL  CAPITALS  ; 


that  four  lines  denote  it  should  be  set  in  ITALIC 


CAPITALS ;   that   a   single  wave=line   denotes 


it  should  be  set  in  lower=case 
(there  are  several  varieties  of  this);  and  that  a 
double  wave=underline  denotes  it  should  be  set  in 
BOLD=FACED  CAPITALS. 

3.  Indicate  side=heads  which  are  to  aline  with 
the  rest  of  the  type=matter  with  an  underline — 
as,  for  italics,  small  capitals,  bold=face,  etc. 

EXAMPLE   OF   A   SIDE=HEAD 

Principal  Kinds  of  Inscriptions. — The  great 
bulk  of  Greek  and  Latin  Jewish  inscriptions  are 
on  tombstones;  texts  not  of  this  character  are 
quite  the  exception. 

If  a  side=note  is  required  it  should  be  marked  on 
the  manuscript  on  the  side  where  it  is  to  be  set. 
This  may  be  done  by  writing  the  words  of  the 
side=note  in  a  box;  so: 


or  in  a  .HSSiiS? 

three  .quarter 

and    Fall 
box;  so  : 


Tl 


The  Preparation  of  Manuscripts     5 


OF  A  SIDK=NOTK 

The  Aryan  Medes,  who  had  attained  to  or- 

ganized power  east  and   northeast  of  Nineveh, 

repeatedly  invaded  Assyria  proper,  and  in  607 

succeeded  in  destroying  the  city.      The  other 

fortresses  doubtless  had  been  oc- 

Decline       cupied    some    time     previously. 

and  Fall     The    capital   was   very  strongly 

fortified.       Its    most    vulnerable 

point  was  the  River  Khausar,  which  ran  through 

the  city,  and  which,  while  serving  for  defense, 

might  be  turned  also  to  its  destruction. 

4.  Write  all  new  matter  to  be  added,  if  more 
than  one  line  in  extent,  on  a  separate  sheet,  and 
indicate  clearly  the  place  for  its  insertion.     If  one 
line  or  less,  write  addition  between  the  lines,  using 
a  caret  (  A  )  to  show  where  it  should  be  inserted. 
If  one  page  or  more,  the  folio  number  should  be 
followed  by  an  alphabetical  sign,  as  23a,  23b,  23C, 
to  indicate  that  matter  added  is  to  follow  regular 
page  23. 

5.  When  illustrations  are  to  be  inserted  in  the 
text,  a  complete  list  of  same  should  accompany 
it.     The  author  should  indicate  on  the  margin  of 
his  manuscript  the  specific  illustration  to  be  in- 
serted at  a  given  point.     This  may  be  done  by 
numbering  the  illustrations  in  the  order  in  which 
they  are  to  be  used,  and  by  marking  correspond- 
ing numbers  on  the  margin  of  the  text  itself. 


6      The  Preparation  of  Manuscripts 

6.  Great   care  should   be   taken   to   spell   all 
proper  names  or  technical  terms  correctly  and 
uniformly,  and  to  use  capital  letters  only  where 
necessary. 

7.  If  a  work  consists  of  several  parts,  a  con- 
tents of  the  whole,  showing  the  arrangement  re- 
quired, should  accompany  the  manuscript. 

8.  Indicate  foot=notes  by  number  in  the  body 
of  the  text,  and  mark  the  foot=note  itself  with  a 
number  corresponding  to  that  in  the  text.     All 
foot=notes  should  be  written  in  ink  of  a  different 
color  from  that  of  the  text.     They  may  be  writ- 
ten at  the  bottom  of  a  page  of  manuscript,  or 
preferably,  on  a  separate  slip  which  can  be  pasted 
where  required. 

9.  The  elimination  of  matter  not  required  is 
best  indicated  by  drawing  through  it  a  horizon- 
tal line.     If,  however,  more  than  a  wrord  or  two, 
or  a  line,  are  to  be  struck  out,  a  stroke  of  the  pen 
drawn  obliquely  across  the  rejected  matter  will 
suffice.     If  an  entire  page,  or  more  than  a  page,  is 
to  be  omitted,  the  folios  of  the  page  or  pages 
omitted  should  be  written  after  the  folio  of  the 
page  that  precedes  the  matter  to  be  omitted. 

For  example,  if  an  author  wishes  to  omit  four 
pages  of  matter  following  page  25  of  his  manu- 
script (and  desires  to  avoid  renumbering  his  entire 
manuscript),  he  should  remove  them,  and  on 


The  Preparation  of  Manuscripts      7 

page  25  write  the  folios  25-29,  which  serve  to 
indicate  that  page  25  stands  for  its  own  number 
and  for  the  numbers  of  the  missing  pages  26,  27, 
28,  and  29. 

10.  Matter  that  should  be  set  in  type  smaller 
than  the  text  is  indicated  on  a  manuscript  by 
drawing  a  single  line  down  its  left  side;  for  ex- 
ample: 

PUT  forth  thy  hand,  in  God's  name;  know 
that  "impossible,"  where  Truth  and  Mercy, 
and  the  everlasting  Voices  of  Nature  order, 
has  no  place  in  the  brave  man's  dictionary. 
That  when  all  men  have  said  "impossible," 
and  tumbled  noisily  elsewhither,  and  thou 
alone  art  left,  then  first  thy  time  and  pos- 
sibility have  come.  It  is  for  thee  now;  do 
thou  that,  and  ask  no  man's  counsel  but  thy 
own  only,  and  God's.  Brother,  thou  hast 
possibility  in  thee  for  much;  the  possibility 
of  writing  on  the  eternal  skies  the  record  of 
a  heroic  life, — CARLYLE. 

Matter  to  be  set  in  still  smaller  type  is  indi- 
cated by  drawing  two  lines  down  its  left  side;  for 
example: 

THE  man  who  is  worthy  of  being  a  leader  of  men 
will  never  complain  of  the  stupidity  of  his  helpers,  of 
the  ingratitude  of  mankind,  or  of  the  inappreciation 
of  the  public.  These  things  are  all  a  part  of  the 
great  game  of  life;  and  to  meet  them  and  not  go  down 
before  them  in  discouragement  and  defeat,  is  the  final 
proof  of  power.— ELBERT  HUBBARD  (Technical  World). 


s     The  Preparation  of  Manuscripts 

ii.  Authors  who  treat  with  printers  direct  will 
find  it  necessary  to  keep  a  record  of  the  folios  of 
manuscript  delivered  and  returned,  with  the  dates 
of  each  transaction.  Publishers  always  under- 
take this  work,  which  is  usually  done  by  a  mem- 
ber of  the  clerical  staff.  The  duties  involved 
may  be  briefly  summarized  as  follows  : 

1 i )  Forwarding  the  manuscript  to  the  printer 
with  such  instructions   as  may  be  needed   con- 
cerning number  of  proofs  required,  or  any  other 
necessary  directions,  and  taking  note  of  the  date 
of  despatch. 

(2)  Receiving  from  the  printer  as  much  of  the 
manuscript  as  has  been  set,  together  with  galley = 
proofs  for  correction.     When  a  batch  of  copy  is 
returned,  the  numbers  of  the  folios  are   to   be 
checked  and  entered  on  the  record,  together  with 
the  numbers  of  all  galleys  that   accompany  it. 
Every  galley=proof    of  printed  matter  bears   a 
number  written  or  set  at  the  top. 

(3)  In  forwarding  galley  ^proofs  to  the  author, 
the  manuscript  corresponding  to   the  matter  in 
type  should  also  be  despatched  to  him,  and  should 
be  returned  by  him  with  the  corrected  proof.     A 
record  of  folios  and  dates  of  forwarding  and  re- 
turning should  be  carefully  kept. 

(4)  Once  received,    the   author's  proofs   are 
usually  transmitted  to  the  printer,  who,  unless 


The  Preparation  of  Manuscripts      9 

the  corrections  are  exceptionally  numerous, 
proceeds  to  make  up  the  printed  matter  into 
page  form.  This  labor  done,  the  printer  sends 
out  to  the  publisher  proofs  in  page  form;  these 
are  accompanied  by  the  corrected  galley =proofs, 
so  that  they  may  be  forwarded  to  the  author,  to 
enable  him  to  verify  whether  or  not  the  correc- 
tions he  desires  have  been  made. 

(5)  After  having  revised  the  printed  matter 
sent  him,  the  author  returns  same  to  the  pub- 
lisher, whose  clerk  transmits  it  in   turn  to  the 
printer  for  casting.     Once  corrected,  the  printer 
sends  the  type=pages  to  his  foundry,  with  instruc- 
tions to  make  electrotype  plates  of  them,  so  as  to 
release  the  type  for  further  use.     This  being  done, 
the  plates  are  ready  for  printing. 

By  some  of  the  more  modern  methods  of  com- 
position, as  by  typesetting=machine,  this  process 
of  electrotyping  is  done  as  the  work  proceeds. 
These  methods  have  certain  disadvantages,  such 
as  when  the  corrections  are  heavy  in  number ; 
this  often  necessitates  the  cancelling  of  matter 
set  and  the  resetting  of  entire  paragraphs. 

(6)  Corrections  may  be  made  in  the  electro- 
type  plate   if    absolutely   necessary;   but    these 
should  generally  be  avoided,  as  they  are  injurious 
to  the  plate  itself,  weakening  it,   and,  in  cases 
where  large  editions  are  printed,  often  causing  the 


10    The  Preparation  of  Manuscripts 

plate  to  break,  thereby  necessitating  the  resetting 
of  the  entire  page.  Therefore,  all  corrections  in 
plate  should  be  avoided. 

Every  author  should  bear  in  mind  that  the 
printer  pays  for  the  correcting  of  all  errors  made 
by  his  men,  but  that  for  all  changes  marked  on  a 
proof  which  are  deviations  from  the  original 
manuscript  the  author  must  pay  at  a  fixed  rate 
per  hour.  The  time  taken  to  make  what  may 
seem  a  trivial  correction  is  often  much  longer 
than  the  author  may  expect,  through  its  causing 
the  overrunning  of  type,  the  remaking=up  of  a 
page,  or  other  additional  work.  (See  also  PROOF* 

READING. ) 


II 

ORTHOGRAPHY 

orthography  of  our  language,"  says 
Goold  Brown,1  "is  attended  with  much  uncer- 
tainty and  perplexity;  many  words  are  variously 
spelled  by  the  best  scholars,  and  many  others  are 
not  usually  written  according  to  the  analogy  of 
similar  words."  The  international  copyright 
law  has  worked  a  curious  change  in  the  orthog- 
raphy of  some  American  books.  Until  lately 
American  publishers  used  the  shorter  and  simpler 
form  of  such  words  as  "  armor,"  "honor," 
"labor,"  omitting  the  "  u,"  common  to  English 
spelling;  in  words  like  "civilize,"  "utilize," 
etc.,  the  American  form  "  ize "  displaced  the 
British  "ise."  Now,  however,  some  American 
publishers  have  gone  back  to  the  old=fashioned 
forms  so  tenaciously  cherished  by  the  British. 
The  reason  for  this  is  found  in  the  fact  that 
American  books  have  invaded  England.  No 
longer  can  American  publishers  be  twitted  with 
Sydney  Smith's  caustic  query:  "  In  the  four 
quarters  of  the  globe,  who  reads  an  American 

1  The  Institutes  of  English  Grammar,  p.  32. 

11 


12    The  Preparation  of  Manuscripts 

book?  "  The  Briton  no  longer  objects  to  read- 
ing it — in  fact,  he  looks  for  it ;  but  prefers  the 
orthography  so  dear  to  his  conservative  heart. 
The  result  is  that  some  publishers  have  deemed 
it  necessary,  in  order  to  sell  American  books  in 
England,  to  spell  in  the  British  way.  On  ac- 
count of  this  the  author,  before  he  commences  to 
write,  should  determine  for  himself  the  authority 
on  spelling  he  intends  to  follow.  Sometimes, 
however,  the  matter  is  left  to  the  discretion  of 
the  publisher. 

In  recent  years  great  strides  have  been  made, 
especially  in  the  United  States,  toward  simplify- 
ing the  spelling  of  words.  Dr.  I.  K.  Funk,  in 
his  magnum  opus,  the  ''Standard  Dictionary," 
states  that  ' '  in  its  effort  to  help  in  simplifying 
the  spelling  of  words  this  dictionary  is  conserva- 
tive, and  yet  aggressively  positive  along  the  lines 
of  reform  agreed  upon  almost  unanimously  by  the 
leading  philologists."  So  here  is  a  work  with 
the  preponderance  of  scholarship  in  its  favor  that 
may  be  followed  as  a  reliable  guide  in  all  matters 
of  disputed  spelling. 

As  has  already  been  said,  the  modern  tendency 
is  toward  the  simplifying  of  orthography.  To 
this  end,  the  National  Educational  Association 
has  recently  adopted  simplified  forms  for  spelling 
certain  words,  but  it  has  not  yet  followed  the 


The  Preparation  of  Manuscripts    is 

lead  of  progressive  lexicographers  who  favor  the 
dropping  of  all  silent  letters  as  redundant.  The 
simpler  forms  of  only  twelve  words  have  been 
adopted  by  the  National  Educational  Association. 
These  forms  are  : 

altho  pedagog  thoro 

catalog  program  thorofare 

decalog  prolog  thru 

demagog  tho  thruout 

This  advocacy  is  slowly  bearing  fruit,  and  will 
no  doubt  ultimately  lead  to  reducing  the  language 
to  a  phonetic  basis,  which  will  materially  assist 
students  of  orthography,  and  save  both  time  and 
money. 

The  trend  toward  simplified  spelling  is  notice- 
able in  many  American  publications.  Some  pub- 
lishers adopt  special  forms  of  words  for  their 
composing=rooms.  This  tendency  has  already 
spread  to  periodicals  even  of  an  educational  char- 
acter, and  throughout  the  United  States  educators 
have  manifested  a  keen  interest  in  the  subject, 
many  advocating  the  adoption  of  simplified  spell- 
ings in  such  words  as  offer  least  resistance,  and 
in  others  whose  forms  in  poetry  have  been  sim- 
plified to  meet  the  exigencies  of  rime. 

There  are  few  printing=offices  or  publishing= 
houses  that  do  not  establish  a  set  of  rules  gov- 
erning typography  and  orthography  for  the 


14    The  Preparation  of  Manuscripts 

guidance  of  their  compositors.  The  most  com- 
prehensive of  these  is,  perhaps,  that  adopted  by 
the  Funk  &  Wagnalls  Company,  which  is  repro- 
duced below. 

TO   EDITORS,    TYPEWRITERS,    COMPOSITORS,    AND 
PROOFREADERS 

Please  take  notice  that  hereafter  the  following 
rules  and  spellings  are  to  be  used  in  all  the  pub- 
lications of  the  Funk  &  Wagnalls  Company: 

1 .  The  dieresis  is  to  be  omitted  in  all  English 
words — as,  2 oology,  cooperation,  etc.      In  Anglo= 
German  words — that  is,  German  words  not  thor- 
oughly naturalized  in  English  speech  and  writing 
— the  umlaut  is  to  be  retained. 

2.  The  diphthong  is  to  be  omitted  in  all  recog- 
nized English  words — as,  egis,  fetus,  instead  of 
tzgis,  foetus. 

SPELLINGS 


adz 

coquet,  v. 

eon 

Haiti 

altho 

courtesy 

epaulet 

hectogram 

Antichrist 

cyclopedia 

epigram 

Hongkong 

archeology 

Czar 

esthetic 

Kaffraria 

ax 

debonair 

facet 

kilogram 

ay 

demagog 

fetish 

Kongo 

beldam 

develop 

Fiji    ^ 

Korea 

bequeath 

diagram 

gelatin 

Kurdistan 

Bering  Sea 

dialog 

good^by 

mold 

by  and  by 

domicil 

gram 

monogram 

catalog 

driest 

gray 

mustache 

Chile 

duet 

guarantee,  v. 

myth 

chlorid 

envelop,  v. 

guaranty,  n. 

nowadays 

The  Preparation  of  Manuscripts     15 


omelet 

Punjab 

sheath 

parquet 

quartet 

skepticisr 

pasha 

quintet 

smooth 

phenix 

Rumelia 

stedfast 

program 

Savior 

stockinet 

prophecy,  n. 

<•  secrecy 

Sudan 

prophesy,  v. 

sextet 

synagog 

synonym 

technic 

tho 

Tibet 

unchristian 

whisky 

wreath 


Of  the  various  classes  of  words  whose  spelling 
is  unsettled,  that  are  affected  by  the  movement 
for  simplified  spelling,  with  which  an  author 
should  familiarize  himself,  several  are  given  be- 
low, characterized  as  American  and  English. 


American            English           American 

English 

abridgment     abridgement    bakshish 

baksheesh 

accessory         accessary         banderole 

bannerol 

accouter           accoutre           banian 

banyan 

accouterment  accoutrement  bastile 

bastille 

acknowledg-   acknowledge-  behavior 

behaviour 

ment                  ment              belabor 

belabour 

adz                     adze                   beveled 

bevelled 

altho                  although          beveling 

bevelling 

aluminum        aluminium       bichlorid 

bichloride 

amphitheater  amphitheatre  bicolored 

bicoloured 

analyze             analyse             bombazine 

bombasine 

anemia              ansemia             Brahman 

Brahmin 

anemic              anaemic             braize 

braise 

anesthetic        anaesthetic       brocatel 

brocatelle 

anesthetize      anaesthetize     brusk 

brusque 

arbor                 arbour 

ardor                 ardour              cadaster 

cadastre 

armor                armour              caffein 

caffeine 

armory              armoury           caliber 

calibre 

asafetida          asafcetida         calif 

caliph 

ascendency      ascendancy      califate 

caliphate 

atropin              atropine            cancelation 

cancellation 

ax                       axe                     canceler 

canceller 

ay  (forever)     aye                    candor 

candour 

16     The  Preparation  of  Manuscripts 


American 

English 

American 

English 

capercailzie 

capercailye 

dickey 

dicky 

cartouch 

cartouche 

dieresis 

diaeresis 

caviler 

caviller 

dingey 

dinghy 

celiac 

cceliac 

discolor 

discolour 

center 

centre 

disenamor 

disenamour 

centigram 

centigramme 

disenroll 

disenrol 

centiped 

centipede 

disfavor 

disfavour 

cesura 

caesura 

disheveled 

dishevelled 

channeled 

channelled 

dishonor 

dishonour 

chartographer  cartographer  disluster 

dislustre 

chetah 

cheetah 

dolor 

dolour 

chlorid 

chloride 

Doricize 

doricize 

chlorin 

chlorine 

Dorize 

dorize 

chlorophyl 

chlorophyll 

dragonade 

dragonnade 

clamor 

clamour 

dueling 

duelling 

clearstory 

clerestory 

duelist 

duellist 

color 

colour 

dulness 

dullness 

coraled 

coralled 

corbeled 

corbelled 

edile 

jedile 

corbeling 

corbelling 

eery 

eerie 

corypheus 

coryphaeus 

emboweled 

embowelled 

councilor 

councillor 

empale 

impale 

counselor 

counsellor 

employee 

employe 

courtezan 

courtesan 

emu 

emeu 

cozy 

cosy 

enameled 

enamelled 

crenelate 

crenellate 

enameler 

enameller 

crozier 

crosier 

enameling 

enamelling 

cyclopedia 

cyclopaedia 

enamor 

enamour 

encenia 

encaenia 

debris 

debris 

endeavor 

endeavour 

decolor 

decolour 

enroll 

enrol 

decolorize 

decolourize 

eon 

aeon 

dedal 

daedal 

eonic 

aeonic 

dedalian 

daedalian 

defense 

defence 

frankal- 

frankal- 

demeanor 

demeanour 

moigne 

moign 

dentin 

dentine 

fulness 

fullness 

despatch 

dispatch 

dialing 

dialling 

gage 

gauge 

diarrhea 

diarrhoea 

gager 

gauger 

diarrhetic 

diarrhcetic 

gazel 

gazelle 

The  Preparation  of  Manuscripts    17 


American 

English 

American 

English 

ghat 

ghaut 

kidnaped 

kidnapped 

gild 

guild 

kidnaper 

kidnapper 

glave 

glaive 

kidnaping 

kidnapping 

glycerin 

glycerine 

kilogram 

kilogramme 

gram 

gramme 

kumiss 

koumiss 

Grecize 

Graecize 

groveled 

grovelled 

labeling 

labelling 

groveler 

groveller 

labor 

labour 

groveling 

grovelling 

labored 

laboured 

laborer 

labourer 

halleluiah 

hallelujah 

laborsome 

laboursome 

harbor 

harbour 

lacrimal 

lachrymal 

harken 

hearken 

lacrimose 

lachrymose 

hemal 

haemal 

lanthanum 

lanthanium 

hematin 

haematin 

laureled 

laurelled 

hematite 

haematite 

leucorrhea 

leucorrhcea 

hemoglobin 

haemoglobin 

leveled 

levelled 

hemoptysis 

haemoptysis 

leveler 

leveller 

hemorrhage 

haemorrhage 

leveling 

levelling 

hemorrhoids 

haemorrhoids 

libeled 

libelled 

hoarhound 

horehound 

libeler 

libeller 

homeopathic 

homoeopathic 

libeling 

libelling 

homeopathist 

homceopathist  libelous 

libellous 

homeopathy 

homoeopathy 

licorice 

liquorice 

honor 

honour 

liter 

litre 

hospitaler 

hospitaller 

lodestone 

loadstone 

hoveling 

hovelling 

luster 

lustre 

humor 

humour 

hyperemia 

hyperaemia 

maneuver 

manoeuvre 

maneuverer 

manoeuvrer 

impanel 

empanel 

marvelous 

marvellous 

impaneled 

empanelled 

meager 

meagre 

impaneling 

empanelling 

medalist 

medallist 

imperiled 

imperilled 

medieval 

mediaeval 

incase 

encase 

medievalize 

mediaevalize 

metaled 

metalled 

jeweled 

jewelled 

metaling 

metalling 

jeweler 

jeweller 

metalize 

metallize 

jeweling 

jewelling 

meter 

metre 

jewelry 

jewellery 

miter 

mitre 

judgment 

judgement 

mobilize 

mobilise 

is    The  Preparation  of  Manuscripts 


American 

English 

American 

English 

modeled 

modelled 

paynim 

painim 

modeler 

modeller 

pedler 

pedlar 

modeling 

modelling 

penciled 

pencilled 

mold 

mould 

percarbu- 

percarbu- 

molt 

moult 

reted 

retted 

mustache 

moustache 

perdue 

perdu 

mythopeic 

mythopceic 

perineum 

perinseum 

peroxid 

peroxide 

neighbor 
nephelite 
nilgau 
niter 

neighbour 
nephelin 
nylghau 
nitre 

petrolin 
phagedaena 
Phenician 
phenix 

petroline 
phagedena 
Phoenician 
phoenix 

nitery 

nitry 

phosphur- 

phosphur- 

nitroglycerin 
nozle 

nitroglycerine 
nozzle 

eted 
piccadilly 

etted 
piccadil 

piccaninny 

pickaninny 

,  . 

,       i 

pickax 

pickaxe 

ODl 

ocher 

f\A  r\t- 

o  Dean 
ochre 

pilau 
Pleiades 

pillau 
Pleiads 

odor 
offense 
omber 
orang-utan 

odour 
offence 
ombre 
orang-outang 

plow 
poleax 
polverine 
pommeled 

plough 
poleaxe 
polverin 
pommelled 

orcin 
Orientalize 
orthopedic 
ouzel 

orci  ne 
orientalize 
orthopaedic 
ousel 

porcelanite 
postiler 
praam 

porcellanite 
postiller 
pram 

oxid 

oxide 

precipe 

praecipe 

preeminence 

pre-eminence 

preemption 

pre-emption 

pachak 

putchock 

preengage 

pre-engage 

paleography 

palaeography 

preestablish 

pre-establish 

paleontology 

palaeontology 

preexist 

pre-exist 

pandour 

pandoor 

pretense 

pretence 

paneled 

panelled 

pretor 

praetor 

paneling 

panelling 

program 

programme 

paraleipsis 

paralepsis 

pronuncia- 

pronuncia- 

paralyze 

paralyse 

mento 

miento 

parceled 

parcelled 

propretor 

propraetor 

parceling 

parcelling 

prothalamion 

prothalamium 

parlor 

parlour 

protoxid 

protoxide 

partizan 

partisan 

Puritanize 

puritanize 

The  Preparation  of  Manuscripts    19 


American 

English 

American 

English 

pyroxylin 

pyroxyline 

saltpeter 

saltpetre 

samson 

Samson's* 

quadrumane 

quadruman 

post 

quarreled 

quarrelled 

sandaled 

sandalled 

quarreling 

quarrelling 

Sanhedrin 

sanhedrim 

quarterfoil 

quatrefoil 

saponin 

saponine 

quipu 

quipo 

sarlak 

sarlac 

sarsenet 

sarcenet 

ragule 

raguly 

savior 

saviour 

raja 

rajah 

savor 

savour 

rancor 

rancour 

scepter 

sceptre 

raveled 

ravelled 

sceptered 

sceptred 

raya 

rayah 

scurril 

scurrile 

reconnoiter 

reconnoitre 

seleniureted 

seleniuretted 

reecho 

re-echo 

sentineled 

sentinelled 

reelect 

re-elect 

sepulcher 

sepulchre 

reenforce 

reinforce 

sesquioxid 

sesquioxide 

reestablish 

re-establish 

sesquisulfid 

sesquisul- 

referable 

referrible 

phide 

regime 

regime 

Shakespear- 

Shakesper- 

regrator 

regrater 

ian 

ian 

remold 

remould 

shastra 

shaster 

reremouse 

rere^mouse 

sheldapple 

sheldafle 

reveled 

revelled 

shellac 

shell=lac 

reynard 

renard 

sherif 

shereef 

rigor 

rigour 

shinny 

shinty 

rime 

rhyme 

shoveled 

shovelled 

rivaled 

rivalled 

shoveler 

shoveller 

rivaling 

rivalling 

shriveled 

shrivelled 

riveled 

rivelled 

signaled 

sigiialled 

rondo 

rondeau 

signaling 

signalling 

roweled 

rowelled 

silicious 

siliceous 

roweling 

rowelling 

sillibub 

sillabub 

ruble 

rouble 

simitar 

scimitar 

rumor 

rumour 

sirup 

syrup 

skeptic 

sceptic 

saber 

sabre 

Slavonian 

Slavonic 

sabered 

sabred 

smolder 

smoulder 

salable 

saleable 

sniveler 

sniveller 

salmon=peal 

salmon=peel 

sobole 

soboles 

saltier 

saltire 

somber 

sombre 

20 


The  Preparation  of  Manuscripts 


American 

English 

American 

English 

sombering 

sombring 

terreplein 

terre=plein 

sorbin 

sorbine 

tessellate 

tesselate 

souslik 

suslik 

theater 

theatre 

spahi 

spahee 

Thomism 

Thomaism 

spanceled 

spancelled 

tiffing 

tiffin 

specter 

spectre 

tigerish 

tigrish 

spicknel 

spignel 

timbal 

tymbal 

splendor 

splendour 

timbreled 

timbrelled 

spulye 

spuilzie 

tinseled 

tinselled 

spurry 

spurrey 

tinseling 

tinselling 

squinny 

squiny 

titbit 

tidbit 

stadholder 

stadtholder 

tom=tom 

tam=tam 

staniel 

stannel 

toweling 

towelling 

stenciler 

stenciller 

trammeled 

trammelled 

stoop 

stoup 

tranquilize 

tranquillize 

stoor 

stour 

transship 

tranship 

strokle 

strocal 

traveled 

travelled 

strychnin 

strychnia 

traveler 

traveller 

styracin 

styracine 

traveling 

travelling 

subbass 

sub=base 

tribunicial 

tribunician 

succor 

succour 

tricolor 

tricolour 

sufi 

sofi 

tridactyl 

tridactyle 

sulfid 

sulphide 

trioxid 

trioxide 

sulfureted 

sulphuretted 

trompe 

tromp 

surquedry 

surquedrie 

troweled 

trowelled 

sweetbrier 

sweet-brier 

tumor 

tumour 

swingletree 

swing=tree 

tunneled 

tunnelled 

syneresis 

synseresis 

tunneling 

tunnelling 

tuyere 

tuyere 

tachylyte 

tachylite 

tweeze 

tweese 

talukdar 

talookdar 

twibil 

twibill 

tasseled 

tasselled 

Tatar 

Tartar 

udaler 

udaller 

taurocol 

taurocoll 

unappareled 

unapparelled 

teazel,  v. 

teasel 

unbiased 

unbiassed 

teazel,  n. 

teasel 

unburden 

unburthen 

teazeled 

teaseled 

unharbor 

unharbour 

tegmen 

tegument 

unmold 

unmould 

tellureted 

telluretted 

unraveler 

unraveller 

tellurian 

tellurion 

uremia 

uraemia 

tercel 

tiercel 

utas 

utis 

The  Preparation  of  Manuscripts    21 


American 

English 

American 

English 

valor 

valour 

werwolf 

werewolf 

vapor 
victualer 
vigor 
vise 

vapour 
victualler 
vigour 
vice 

whimsy 
wivern 
woful 
woolen 

whimsey 
wyvern 
woeful 
woollen 

visualize 
vizor 
voltzite 
voweled 

visualise 
visor 
voltzine 
vowelled 

worshiped 
worshiper 
Wyclifite 

worshipped 
worshipper 
Wickliffite 

wadi 
Wahabi 

wady 
Wahabee 

xanthophyl 
xyloidin 

xanthophyll 
xyloidine 

wainscoting 
weeviled 

wainscotting 
weevilled 

zaffer 

zaffre 

welsher 

welcher 

zinkiferous 

zinciferous 

Ill 

HOMONYfiS 

A  HOMONYM  is  a  word  that  agrees  with  another 
in  sound,  but  differs  from  it  in  spelling  and 
meaning.  When  dictating,  care  should  be  taken 
to  distinguish  the  word  required,  so  as  to  save 
correction  in  manuscript  or  typewritten  matter. 
Of  this  class  of  words  the  following  are  typical 
examples: 


ail,  ale 

brake,  break            corse,  coarse, 

air,  ere,  heir 

bread,  bred                   course 

aisle,  isle 
all,  awl 

breach,  breech         coarser,  courser 
brows,  browze         cold,  coaled 

altar,  alter 
ante,  anti 
arc,  ark 

calendar,  calender  coin,  coign 
call,  caul                   compliment,  com- 
canon,  cannon             plement 

ascent,  assent 
bail,  bale 
baize,  bays  (pl.)» 
beys  (pi.) 
ball,  bawl 

canvas,  canvass      core,  corps 
cask,  casque             coward,  cowered 
cede,  seed                 crews,  cruise,  cruse 
ceiling,  sealing        cue,  queue 
cellar,  seller            currants,  currents 

bait,  bate 

cent,  scent,  sent     dear,  deer 

beach,  beech 

cere,  seer,  sere        deviser,  divisor 

beau,  bow 

cereal,  serial            dew,  due 

beer,  bier 
bight,  bite 
blew,  blue 
boarder,  border 

cession,  session       die,  dye 
chagrin,  shagreen  doe,  dough 
choir,  quire              draft,  draught 
choose,  chews          dust,  dost 

boll,  bowl 
bough,  bow 
boy,  buoy 
borough,  burrow 

chord,  cord               dying,  dyeing 
cite,  sight,  site        eaves,  eves 
clause,  claws            ewes,  yews 
climb,  clime              fain,  feign 

22 

The  Preparation  of  Manuscripts    23 


faint,  feint 

mane,  main 

profit,  prophet 

fair,  fare 

mantel,  mantle 

quartz,  quarts 

feat,  feet 

marshal,  martial 

quire,  choir 

find,  fined 

maze,  maize 

rain,  reign,  rein 

flea,  flee 

mead,  meed 

rap,  wrap 

flew,  flue 

mean,  mien 

raise,  rays,  raze 

fore,  four 

meat,  meet,  mete 

read,  reed 

foul,  fowl 

metal,  mettle 

retch,  wretch 

freeze,  frieze 

mews,  muse 

right,  rite,  write 

furs,  furze 

might,  mite 

rime,  rhyme 

gait,  gate 

miner,  minor 

ring,  wring 

gilt,  guilt 

moan,  mown 

road,  rode,  rowed 

grate,  great 

moat,  mote 

roe,  row 

grater,  greater 

mode,  mowed 

sail,  sale 

grocer,  grosser 

muscle,  mussel 

scene,  seen 

hail,  hale 

mustard,  mustered  sea,  see 

hair,  hare 

nay,  neigh 

seam,  seem 

hall,  haul 

nave,  knave 

shear,  sheer 

hart,  heart 

new,  knew 

size,  sighs 

heal,  heel 

night,  knight 

sleight,  slight 

hear,  here 

nun,  none 

sold,  soled 

hide,  hied 

oar,  ore 

so,  sew,  sow 

higher,  hire 

ode,  owed 

soar,  sore1 

hoard,  horde 

one,  won 

some,  sum 

holed,  hold 

our,  hour 

son,  sun 

indite,  indict 

pail,  pale 

stake,  steak 

jam,  jamb 

pall,  pawl 

stair,  stare 

key,  quay 

pain,  pane 

stationary,  sta- 

knight, night 

pair,  pare,  pear 

tionery 

knot,  not 

pause,  pawse 

steal,  steel 

know,  no 

peace,  piece 

storey,  story 

lane,  lain 

peal,  peel 

straight,  strait 

lead,  led 

peer,  pier 

sweet,  suite 

leak,  leek 

plaid,  played 

sword,  soared 

lessen,  lesson 

plain,  plane 

tacks,  tax 

lie,  lye 

plait,  plate 

tail,  tale 

limb,  limn 

plum,  plumb 

tare,  tear 

load,  lowed 

pole,  poll 

team,  teem 

loan,  lone 

pore,  pour 

throe,  throw 

lynx,  links 

pray,  prey 

throne,  thrown 

maid,  made 

principal,  prin- 

tide, tied 

male,  mail 

ciple 

tier,  tear 

24    The  Preparation  of  Manuscripts 


time,  thyme 
to,  too,  two 
toe,  tow 
told,  tolled 
ton,  tun 
travel,  travail 
treatise,  treaties 

vain,  vane,  vein 
vale,  veil 
wade,  weighed 
wait,  weight 
waist,  waste 
wave,  waive 
way,  weigh 

wear,  ware 
week,  weak 
ween,  wean 
wether,  weather 
wood,  would 
yoke,  yolk 
you,  ewe,  yew 

IV 

RULES   FOR  THE  SIMPLIFICATION  OF 
SPELLING 

THE  following  rules  are  recommended  by  the 
American  Philological  Association,  the  Spelling 
Reform  Association,  and  the  Philological  Society 
of  England,  and  are  included  here  to  serve  as 
guides  to  authors  and  others  in  sympathy  with 
the  efforts  being  made  to  secure  a  logical  and 
simpler  form  of  orthography.  All  words  affected 
by  these  rules  are  to  be  found  in  the  vocabulary 
of  the  ' '  Standard  Dictionary ' ' ;  in  recording  the 
new  phonetic  forms  the  editor  has  not  introduced 
any  theories  of  his  own. 

Rule  i 

(1)  Change  final  "  ed  "  to  "  t "  when  so  pro- 
nounced, as  in  abashed  (abasht),  wished  (wisht), 
etc.,  and,  if  a  double  consonant  precedes,  drop 
one   of  the   consonants,   as  in  chipped  (chipt), 
dressed  (drest),  hopped  (hopt),  etc. 

(2)  Retain  final  "  ed  "  when  the  "  e"  affects 
a  preceding  sound. 

25 


26    The  Preparation  of  Manuscripts 

(a)  When  the  preceding  vowel  sound  is  long 
and  expressed  by  a  single  letter,  as  the  following: 

baked,  not  bakt,  as  bakt  gaped,  not  gapt 

would  be  pronounced  backed  chafed,  not  chaft 

caked,  not  cakt  coped,  not  copt 

craped,  not  crapt  moped,  not  mopt 

draped,  not  drapt  roped,  not  ropt 

N.B.— The  "  e  "  does  not  affect  the  preceding 
vowel  sound  when  expressed  by  two  or  more 
letters,  as  in  booked  (bookt),  bleached  (bleacht), 
crouched  (croucht). 

(b)  When  a  preceding  "  c  "  has  the  sound  of 
"s,"    as  in   chanced   (not   chanct),  forced   (not 
forct),  faced  (not  fact),  etc. 

Rule  2 

1 i )  Drop  "  ue  '  *  at  the  end  of  words  when  the 
preceding  vowel  is  short  or  a  diphthong,  as  in 
dialogs,  catalogue,  etc.     Thus,  spell  dialog,  cata- 
log, demagog,  epilog,  synagog,  etc. 

(2)  Retain  "ue"  when  the  preceding  single 
vowel  is  long,  as  in  prorogue,  vogue,  disembogue, 
pirogue,  plague,  vague,  fatigue. 

Rule  3 

(1)  Drop  final    "e"    from   words  ending  in 
"ite"  when  the  "i"   is  short,  as  hypocrit,  op- 
posit,  preterit,  requisit,  etc. 

(2)  Retain  final  "  e  "  when  the  "  i  "  is  long, 
as  infinite,  polite,  unite,  etc. 


The  Preparation  of  Manuscripts    27 

Rule  4 

Drop  final  '  '  te ' '  in  words  like  cigarette,  co- 
quette, quartette,  etc.  Thus,  spell  coquet,  epaulet, 
quartet,  and  all  words  of  the  same  class  which 
are  Anglicized. 

Rule  5 

(1)  Drop    final    "me"    in   words    like    pro- 
gram me,  and  spell  program. 

(2)  Retain  final  "  me  "  in  written  medical  pre- 
scriptions, where  the  form  gram  might  be  mis- 
taken for  grain,  and  cause  serious  error. 

Rule  6 

(1)  Drop  final   "e"    from  words  ending  in 
"  ile  "  when  the  "  i  "  is  short,  as  infragil(t,  due- 
til^,  etc. 

(2)  Retain  final  "e"  when  the  "i"  is  long, 
as  in  gentile,  exile,  etc. 

Rule  7 

(1)  Drop  final    "e"    from  words  ending  in 
' '  ine ' '  when  the  "  i  "  is  short,  as  in  disciplines., 
doctrin  (  e ,  feminin  (e ,  etc . 

(2)  Retain  final  "  e  "  when  the  "  i "  is  long, 
as  in  sunshine,  asinine,  machine,  etc. 


28    The  Preparation  of  Manuscripts 

Rule  8 

1 i )  Drop  final    ' '  e ' '    from  words   ending  in 
' '  ise  "  when  the  t :  i ' '  is  short,  as  in  anis(Qy  prac- 
/w(e,  premises,  treatis(ey  etc. 

(2)  Retain  final  "e"  when  the  "i"  is  long, 
as  in  wise,  etc. 

Rule  9 

Drop  "  a ' '  from  ' '  ea  "  having  the  short  sound 
of  "  e'J  as  infeather>  leather,  etc. 

Rule  10 

(1)  Drop  final    "e"    from  words  ending  in 
' '  ve ' '  when  the  preceding  vowel  has  its  common 
short  sound,  as  in  repulsiv(t,  talkativ(e,  etc.,  or 
is  expressed  by  two  letters,  as  in  griev(e,  groov(e, 
carv(e,  "  r  "  counting  with  the  vowels. 

(2)  Retain   final    "e"    when   the    preceding 
vowel  is  single  and  long,  as  in  Jive,  drive,  etc. 

Rule  ii 

Change  the  diagraph  ' '  ph  "  to  ' '  f  "  wherever 
it  has  the  sound  of  "f,"  as  in  diphtheria  (dif- 
theria),  phantom  (fantom),  telegraph  (telegraf), 
photograph  (fotograf),  physic  (fysic),  naphtha 
(naftha),  etc. 


The  Preparation  of  Manuscripts    29 

CHEMICAL  TERMS 

The  need  of  a  reform  in  the  spelling  of  chem- 
ical terms,  which  was  generally  admitted  by  the 
Section  on  Chemistry  of  the  American  Association 
for  the  Advancement  of  Science,  led  to  the  adop- 
tion by  that  body  of  certain  rules  affecting  several 
classes  of  terms.  These  rules  are  as  follows: 

In  terms  ending  in  "-ide"  drop  the  final 
' '  e  " ;  write  ' '  chlorid, "  not ' '  chloride  ' ' ;  ' '  oxid, ' ' 
not  ' '  oxide  ' '  ;  ' '  sulfid, ' '  not  ' '  sulphide. ' ' 

In  terms  ending  in  "-ine,"  drop  the  final 
' '  e ' '  ;  write  ' (  bromin, ' '  not  ' '  bromine  " ;  ( '  chlor- 
in,J>  not  ""chlorine"  ;  "quinin,M  not  "quinine." 

EXCEPTION:  The  termination  "-ine"  is  re- 
tained only  in  the  case  of  unsaturated  hydrocar- 
bons, according  to  Hoffman's  grouping.  Thus, 
write  "butine,"  not  "  butin  "  ;  "hexine,"  not 
"hexin,"  etc. 

In  harmony  with  the  action  of  the  Association 
for  the  Advancement  of  Science,  the  "  Standard 
Dictionary ' '  substitutes  ' '  f  "  f or  l '  ph  "  in  * '  sul- 
fur" and  all  its  derivatives,  and  it  follows  the 
spellings  of  the  Association  in  its  vocabulary. 

GEOGRAPHIC  NAMES 

The  United  States  government  has  appointed 
a  permanent  Board  on  Geographic  Names,  whose 
duty  is  to  determine  all  unsettled  questions  con- 
cerning such  names  that  arise  in  the  Departments, 


so   The  Preparation  of  Manuscripts 

and  in  the  Government  Printing  Office.  The 
decisions  of  this  Board  are  to  be  accepted  as 
standard  authority  by  these  Departments.  A 
complete  list  of  these  spellings  can  be  obtained  at 
small  cost  by  applying  to  the  Public  Printer, 
Washington,  D.  C. 

The  plan  followed  by  the  Board  in  disposing 
of  any  question  brought  before  it  is  to  refer  it  to 
its  Executive  Committee.  This  committee  is 
charged  with  the  thorough  investigation  of  the 
question,  is  expected  to  consult  the  authorities 
with  regard  to  it,  and  to  make  use  of  such  assist- 
ance as  it  may  find  available  elsewhere.  Officers 
of  the  various  Departments  of  the  United  States 
government  are  under  instruction  to  afford  this 
Board  such  assistance  as  may  be  proper  to  carry 
on  its  work.  A  resume  of  such  investigations  as 
are  made,  together  with  a  recommendation  based 
on  the  results,  is  submitted  to  the  Board  at  a 
regular  meeting,  and  after  discussion  a  decision 
is  reached  by  vote. 

While  some  persons,  chartographers  especially, 
have  taken  exception  to  the  decision  of  this  Board 
as  regards  certain  names,  no  other  list  can  be 
recommended  as  a  reliable  substitute. 

i .  The  principles  applied  by  the  Board  to  geo- 
graphic names  in  the  United  States  may  be  sum- 
marized as  follows: 


The  Preparation  of  Manuscripts    31 

(  i  )  That  spelling  and  pronunciation  which  is 
sanctioned  by  local  usage  should  in  general  be 
adopted. 

(2)  Where  names  have  been  changed  or  cor- 
rupted, and  such  changes  or  corruptions  have 
become  established  by  local  usage,  it  is  not  in 
general  advisable  to  attempt  to  restore  the  orig- 
inal form. 

(3)  In  cases  where  what  was  evidently  origi- 
nally the  same  word  appears  with  various  spell- 
ings sanctioned  by  local  usage,  when  applied  to 
different  features,  these  various  spellings  should 
be  regarded  as  in  effect  different  names,  and,  as  a 
rule,  it  is  inadvisable  to  attempt  to  produce  uni- 
formity. 


lause  3,  reproduced  here,  is  taken  verbatim 
from  the  Second  Report  of  the  U.  S.  Board  on  Geogra- 
phic Names,  p.  22.] 

(4)  Where  a  choice  is  offered  between  two  or 
more  names  for  the  same  place  or  locality,  all 
sanctioned  by  local  usage,  that  which  is  most 
appropriate  and  euphonious  should  be  adopted. 

(5)  The    possessive  form  should  be  avoided 
whenever  it  can  be  done  without  destroying  the 
euphony  of  the  name  or  changing  its  descriptive 
application. 

(6)  In  names  ending  in   "  burgh  "    the  final 
1  '  h  '  '  should  be  dropped. 


32    The  Preparation  of  Manuscripts 

(7)  Names  ending  in  "borough"  should  be 
abbreviated  to  "boro." 

(8)  The  word  "  center,"  as  a  part  of  a  name, 
should  be  spelled  as  above,  and  not  "  centre." 

(9)  The  use  of  hyphens  in  connecting  parts  of 
names  should  be  discontinued. 

(10)  The  letters  "  C.  H."   (Court  House)  ap- 
pended to  the  names  of  county  seats  should  be 
omitted. 

( 1 1 )  In  the  case  of  names  consisting  of  more 
than  one  word  it  is  desirable  to  combine  them 
into  one  word. 

(12)  It  is  desirable  to  avoid  the  use  of  dia- 
critic characters. 

(13)  It  is  desirable  to  avoid  the  use  of  the 
words  ' '  city  ' '  and  ' '  town  ' '  as  parts  of  names. 

2.  The  principles  applied  to  the  geographic 
names  of  foreign  countries  are  : 

(1)  Geographic  names  in  countries  that  use 
Roman  characters  should  be  rendered  in  the  form 
adopted  by  the  country  having  jurisdiction,  ex- 
cept where  there  are  English  equivalents  already 
fixed  by  usage.      In  cases  where  the   English 
equivalent  is  so  different  from  the  local  form  that 
the  identity  of  the  latter  with  the  former  might 
not  be  recognized,  the  English  form  should  be 
adopted,  but  both  forms  may  be  given. 

(2)  The  spelling  of    geographic  names  that 


The  Preparation  of  Manuscripts     33 

require  transliteration  into  Roman  characters 
should  represent  the  principal  sounds  of  the 
word  as  pronounced  in  the  native  tongue. 

The  spellings  of  the  Loard  have  been  adopted 
by  the  editor  of  the  "  Standard  Dictionary." 


V 

CAPITALIZATION 

No  AUTHOR  can  afford  to  neglect  this  feature  in 
his  work.  For  this  reason  the  following  sugges- 
tions are  offered  for  his  guidance. 

To  indicate  capital  letters  in  a  manuscript,  draw 
three  parallel  lines  beneath  them.  (For  exam- 
ple, see  section  on  PROOF-RKADING,  page  59. ) 

The  vSystematic  application  of  the  following 
rules  will  assure  correct  capitalization: 

1.  Capitalize  the  initial  letter  (i)  of  the  first 
word  of  every  complete  sentence  ;  (2)  of  the  first 
word  of  every   distinct  clause  separately  para- 
graphed or  numbered;  (3)  of  every  proper  name; 

(4)  of  every  word  derived  from  a  proper  name; 

(5)  of  the  first  word  and    of  the  chief  other 
words  in  the  titles  of  books,  pictures,  plays,  or 
publications  ;    (6)  of  the  first  word  and  other 
chief  words  in  subtitles  or  subdivisions  of  books 
written  in  two  or  more  parts. 

2.  Capitalize  all  the  names  of  the  Deity — e.g., 
the  Almighty,  Creator,  Father,  God,Jahveh,  Jeho- 
vah, Savior. 

34 


The  Preparation  of  Manuscripts       35 

God  is  capitalized  only  when  the  word  refers 
to  the  Deity  ;  in  its  other  senses  it  takes  a  small 
initial  letter. 

Heaven  takes  a  capital  initial  when  it  denotes 
the  Supreme  Being  and  a  small  letter  when  used 
in  any  of  its  many  other  meanings.  This  may 
have  been  due  to  the  influence  of  the  Authorized 
Version  of  the  Bible  on  printing.  Therein  the 
translators  commonly  used  small  letters.  In 
Genesis  1:2,  the  word  is  written  "  heaven,"  but 
in  the  same  chapter  (verse  8)  we  find  "  And  God 
called  the  firmament  Heaven" — the  capital  let- 
ter was  used  here  to  designate  the  sky  and  all 
the  depth  of  space  beyond  the  surface  of  the 
earth  as  distinguished  from  the  abode  of  man. 

3.  Write  the  personal  pronoun  in  the  first  per- 
son singular  a  capital — as,  ' (  Vengeance  is  mine, 
saith  the  Lord  ;  /  will  repay. ' ' 

4.  Capitalize  the   initial   letter    of   words    of 
special  importance  or  others  specifically  applied, 
as  the  family  names  or  type  genuses  of  animal  or 
of  plant  life. 

5.  Write  the  initial  letter  of  the  first  word  of 
every  line  of  verse  a  capital — e.g. : 

"My  love  to  those  that  I  love; 
My  love  to  those  that  love  me. 
My  love  to  those  that  love  those  that  I  love, 
And  to  those  that  love  those  that  love  me." 


36       The  Preparation  of  Manuscripts 

6.  Capitalize  the  initial  letter  of  the  first  word 
of  a  complete  example  or  direct  quotation — e.g.: 

"Honesty  is  the  best  policy." 

7.  Capitalize  the  initial  letters  of  the  days  of 
the  week  and  month,  festivals,  holy  days,  and 
days  of  historic  significance. 

8.  Capitalize  prefixes,  as  D',  Da,  De,  Di,  Van, 
Von,  when  not  preceded  by  a  given  name.     If  a 
given  name  precedes  the  surname,  the  first  letter 
of  the  prefix  should  be  a  small  one.     However, 
this  rule  is  not  always  strictly  adhered  to. 

9.  Capitalize  the  initial  letter  of  names  of  polit- 
ical or  special  significance — as,  the  Middle  Ages, 
the  Elizabethan  Period,  the  Great  Reformation, 
Democrat,    Republican,    Conservative,    liberal, 
Nationalist,  Church,  State,  etc. 

10.  Capitalize  the  initial  letter  of  all  titles  of 
dignity — as,    President,    Chief   Justice,    Bishop, 
Senator,  etc.,  when  these  precede  the  surnames 
of  dignitaries. 

11.  Capitalize  the  initial   letters  of   all  geo- 
graphic names — as,  Bermuda,  Gulf  of  Mexico, 
North  Sea,  North  River,  Rocky  Mountains. 

NOTE:  The  seasons  of  the  year  and  the  words 
earth,  sun,  and  moon,  being  regarded  as  common 
nouns,  are  not  written  with  initial  capital  letters. 
The  names  of  planets  and  stars  should  be  written 
with  capital  initial  letters,  as  they  stand  for  per- 
sonifications of  certain  mythical  deities. 


VI 

PUNCTUATION 

THK  use  of  the  punctuation=marks  or  points 
for  the  purpose  of  clearly  showing  the  sense  or 
relation  of  words  is  comparatively  recent.  In 
ancient  writings  words  were  run  together  succes- 
sively without  break  or  pause=mark.  Not  until 
Aldus  Manutius,  who  flourished  in  the  fifteenth 
century,  and  evolved  the  main  features  of  our 
system  and  used  them  in  his  books,  was  atten- 
tion given  to  a  subject  of  first  importance  so  far 
as  writing  and  printing  are  concerned. 

Few,  indeed,  are  the  persons  who  to-day  would 
endorse  the  view  on  the  subject  of  punctuation 
entertained  by  Blair  and  expressed  by  him  in  his 
"  Rhetoric"  (p.  121)  :  "  It  is  in  vain  to  propose 
by  arbitrary  punctuation  to  amend  the  defects  of 
a  sentence,  to  correct  its  ambiguity,  or  to  prevent 
its  confusion. ' '  The  absurdity  of  this  contention 
may  be  aptly  illustrated  by  the  following  riddle 
from  Halliwell's  "  Nursery  Rhymes"  : 

"  Every  lady  in  this  land 
Has  twenty  nails  upon  each  hand 
Five  and  twenty  on  hands  and  feet 
All  this  is  true  without  deceit." 

97 


38    The  Preparation  of  Manuscripts 

Punctuation  will  help  to  solve  this  riddle 
quickly.  Insert  a  semicolon  after  the  word 
"  nails"  in  the  second  line,  and  a  comma  after 
the  word  five  in  the  third  line.  Thus,  the  riddle 
would  read : 

"  Every  lady  in  the  land 
Has  twenty  nails;  upon  each  hand 
Five,  and  twenty  on  hands  and  feet." 

Earle  says:  "The  sentence  which  would  be 
ambiguous  without  stops  is  a  badly  constructed 
sentence,"  and  the  following,  cited  by  Mr.  De 
Vinne,1  helps  to  prove  it  : 

"The  prisoner  said  the  witness  was  a  convicted 
thief." 

In  this  sentence  the  stigma  is  placed  on  the 
witness,  but  the  fact  is  that  it  should  have  been 
put  on  the  prisoner  ;  so  : 

"The  prisoner,  said  the  witness,  was  a  convicted 
thief." 

Every  manuscript  should  be  carefully  punc- 
tuated before  it  is  submitted  to  a  publisher  or 
sent  to  the  printer.  By  paying  particular  atten- 
tion to  this,  authors  will  be  able  not  only  to  in- 
sure the  correct  interpretation  of  their  thoughts, 

1  The  Practise  of  Typography,  p.  260. 


The  Preparation  of  Manuscripts     39 

but  also  to  remove  the  liability  of  being  misread, 
and  be  able  to  reduce  the  expense  usually  in- 
curred for  correction. 

If  an  author  possesses  an  accurate  knowledge 
of  punctuation,  as  well  as  the  faculty  to  apply 
this  knowledge  consistently,  he  can  not  afford  to 
trust  to  the  printer  for  the  correct  punctuation 
(which  often  means  also  the  correct  interpretation 
of  the  meaning)  of  his  manuscript.  If  he  be  not 
qualified  to  attend  to  the  subject  himself,  he 
would  better  call  in  expert  help  or  request  his 
publisher  to  have  the  work  done  for  him. 

If,  as  is  claimed  by  Wendell,  ' '  Punctuation  is 
to  do  for  the  eye  what  emphasis  does  for  the  ear, ' ' 
then  it  is  an  important  appanage  of  style,  and,  as 
such,  authors  should  jealously  preserve  it.  Need- 
less punctuating  is  both  bad  and  costly — as  bad 
and  as  costly  as  omitting  punctuation  when  it  is 
necessary.  Yet  if  punctuation  is  to  do  for  the 
eye  what  emphasis  does  for  the  ear,  how  will  it 
fare  in  the  hands  of  a  writer  of  spasmodic  tem- 
perament ?  Probably  as  poorly  as  would  empha- 
sis at  the  lips  of  a  man  who  stutters. 

Two  styles  of  punctuation  are  in  use  to-day. 
One  is  termed  ' '  close, ' '  the  other  ' '  open. ' '  Close 
punctuation  is  formal  and  constrained,  and  lacks 
the  natural  flow  of  words  which  open  punctuation 
produces.  Close  punctuation  is  to  be  found  often 


40    The  Preparation  of  Manuscripts 

in  English  books  printed  in  the  eighteenth  and 
early  in  the  nineteenth  centuries.  The  practise 
of  writing  sentences  of  inordinate  length  made 
close  punctuation  necessary  to  their  correct  in- 
terpretation. When  the  short  and  direct  sen- 
tence superseded  its  clumsy  predecessor,  open 
punctuation  was  practised.  But  there  is  a  class 
of  writers  of  even  short  sentences  that  follows  the 
practise  now  almost  abandoned  in  England,  and 
preserved  only  by  lawyers  and  pedants  in  the 
United  States.  On  this  subject  Mr.  De  Vinne 
says  that  '  *  a  comparison  of  the  punctuation  of 
early  and  late  editions  of  English  classics  will 
show  that  the  tendency  of  modern  editors  is  to  a 
more  sparing  use  of  points. ' ' l 
Punctuation  is  of  four  kinds: 

1.  Grammatical   punctuation,    used    to    indicate 
a  greater  or   less   degree  of  separation   in   the 
relations  of  the  thought,  as  by  division  into  sen- 
tences, clauses,  and  phrases,  to  aid  in  the  better 
comprehension  of  the  meaning  and  grammatical 
relation  of  the  words. 

The  points  used  in  grammatical  punctuation 
are:  the  comma  (,);  the  semicolon  (;);  the  colon 
( : ) ;  the  period  or  full  point  ( . ) ,  and  the  dash  ( — ) . 

2.  Rhetorical  punctuation  is  used  to  mark  some 
peculiarity  in  expression. 

1  The  Practise  of  Typography,  p.  292. 


The  Preparation  of  Manuscripts     41 

The  points  used  are:  the  note  of  exclamation  or 
ecphoneme  (!);  the  note  of  interrogation  or  ero- 
teme  (?);  the  dash  ( — );  the  quotation-marks  or 
guillemets,  used  singly  or  in  pairs  ( '  * .  .  .  ' '  ; 
* .  .  .  '),  and  the  parentheses  or  curves — (  ). 

3.  Etymological  punctuation  is  used  to  indicate 
something    concerning    the    formation,    use,    or 
omission  of  words  or  parts  of  words. 

The  marks  used  are:  the  caret  (^);  the  dieresis 
(**);  the  macron  or  macrotone  ("),  a  mark  of 
quantity  used  to  designate  length,  as  of  vowel 
sound  or  syllable;  the  breve  or  stenotone  ("),  a 
mark  of  quantity  used  to  designate  a  close  vowel 
sound  or  a  short  syllable ;  the  acute  accent  ('), 
used  to  denote  stress  in  pronunciation;  the  grave 
accent  ( v ) ,  used  to  denote  a  falling  inflection  or 
an  open  or  long  vowel;  the  circumflex  (^),  used 
to  denote  a  broad  or  long  sound ;  the  hyphen 
(-,  =),  used  to  connect  syllables  of  a  word  when 
separated,  as  at  the  end  of  a  line  or  to  connect 
the  two  elements  (or  more)  of  a  compound  word, 
and  the  period  (.),  used  to  denote  an  abbrevia- 
tion. 

4.  Punctuation    for    reference    is    used   to   refer 
the  reader  to  some  other  place  in  the  page   or 
book. 

The  marks  used  are  the  asterisk  or  star  (*) ; 
the  dagger  or  obelisk  (f);  the  double  dagger  or 


42     The  Preparation  of  Manuscripts 

diesis  (J);  the  section  (§);  the  parallel  (|j);  the 
paragraph  (^[);  the  index  (j§®°);  and  the  aster- 
ism  (>jAfc  or  *#*).  In  cases  where  the  references 
are  numerous  these  marks  are  sometimes  doubled, 
but  in  such  cases  modern  usage  inclines  to  the 
use  of  superior  figures  ('  2),  which  are  preferable, 
except  in  books  which  treat  technical  subjects,  as 
in  these  superior,  and  sometimes  inferior,  figures 
(s,4)  are  used  for  other  purposes.  Superior  let- 
ters also  are  occasionally  used  (a>b).  Ellipses,  as 
in  quotations,  are  usually  designated  by  three 
periods  or  stars  (.  .  .;  ***).  Brackets  ([])  are 
used  when  the  purpose  is  to  separate  sentences 
that  have  been  interpolated  as  comments  on  re- 
marks in  parentheses. 


VII 

EXPLANATORY  NOTES  AND  EXAMPLES 
OF  PUNCTUATION 

I.— THE  COMMA  (  ,  ) 

THE  comma  is  used  to  mark  the  shortest  pause 
of  time. 

1 i )  In  a  simple  sentence  it  may  be  used  or  be 
omitted. 

EXAMPLES: 

Know  that  the  slender  shrub  which  is  seen  to 
bend,  conquers  when  it  yields. 

Truth  is  afoot,  nothing  can  impede  it. 

The  same  principle  leads  us  to  neglect  a  man 
of  merit  that  induces  us  to  admire  a  fool. 

(2)  In  a  compound  sentence — that  is,  one  in 
which  the  direct  sequence  of  thought  is  inter- 
rupted by  repetition  or  by  the  addition,  as  of 
verbs,  nouns,  or  other  parts  of  speech — the  comma 
is  used  to  separate  the  simple  members. 

EXAMPLES: 

Charity,  like  the  sun,  brightens  every  object 
it  shines  upon. 

43 


44    The  Preparation  of  Manuscripts 

Men  of  age  object  too  much,  consult  too  long, 
adventure  too  little,  repent  too  soon,  and  seldom 
drive  business  home  to  the  full  period,  but  con- 
tent themselves  with  a  mediocrity  of  success. 

(3)  It  is  used  in  separating  several  (more  than 
two)  words  which  are  connected  by  conjunctions 
expressed  or  implied. 

EXAMPLES: 

Man  must  have  some  fears,  hopes,  and  cares 
for  the  coming  morrow. 

God  has  given  us  wit,  and  flavor,  and  bright- 
ness, and  laughter,  and  perfumes,  to  enliven 
the  days  of  man's  pilgrimage,  and  to  "charm 
his  pained  steps  over  the  burning  marie." 

Gordon  met  death  as  a  brave,  valiant,  and 
noble  man. 

(4)  It  is  not  used  to  separate  two  words  that 
are  connected  by  a  conjunction. 

EXAMPLE:  Mirth  is  short  and  transient,  cheer- 
fulness fixed  and  permanent. 

(5)  It  may  or  may  not  be  used  to  separate  a 
series  of  words  in  pairs  that  are  connected  by 
conjunctions. 

EXAMPLES: 

This  sound  brought  out  from  their  lurking* 
places  a  crew  of  vagabond  boys  and  vagabond 
dogs,  .  .  .  and  boy  and  dog,  and  hostler  and 
Boots,  all  slunk  back  again  to  their  holes. 


The  Preparation  of  Manuscripts    45 

In  schoolroom  and  college  class,  in  the  field 
and  afloat,  discipline  maintains  order. 

East  and  West  and  South  and  North 
The  Messengers  ride  fast. 

(6)  It  is  used  to  set  off  nouns  and  pronouns  in 
the  absolute,  and  words  put  in  apposition. 

EXAMPLES: 

The  prisoner,  his  sentence  being  pronounced, 
was  removed. 

He  who  stands  before  thee  is  Paul,  the 
Apostle. 

The  transaction  closed,  we  separated. 

(7)  It  is  used  to  set  off  adjectives  or  participial 
adjectives  and  their  adjuncts,  especially  if  they 
affect  the  significance  of  a  dependent  clause. 

EXAMPLE:  Man,  living,  feeling  man,  is  the 
easy  prey  of  the  powerful  present. 

(8)  It  is  used  to  introduce  a  single  short  quo- 
tation.    If,  however,  more  than  one  quotation  is 
cited,  a  colon  should  be  used  instead. 

(9)  It  is  used  in  the  place  of  a  verb  omitted 
or  of  a  word  understood. 

(10)  It  is  used  before  and  after  the  infinitive 
mode  when  the   infinitive  follows  a  verb  from 
which  it  should  be  set  off,  or  when  it  is  dependent 
on  a  thing  understood  or  remote. 


46    The  Preparation  of  Manuscripts 

EXAMPLES: 

His  aim  was,  to  foster  the  interests  of  the 
natives. 

To  continue,  I  will  now  show  the  consequence 
of  my  argument. 

( 1 1 )  It  is  used  also  to  set  off  an  adverb  or  ad- 
verbial phrases  when  they  cause  a  break  in  the 
construction  of  a  simple  sentence. 

EXAMPLES: 

This  curiosity  of  theirs,  however,  was  attend- 
ed with  very  serious  effects. 

And  yet  I  knew  that  every  wrong, 
However  old,  however  strong, 
But  waited  God's  avenging  hour. 

(12)  It  is  used  to  set  off  prepositional  phrases 
when  they  interrupt  the  sequence  of  a  simple  sen- 
tence, or  when  they  are  separated  from  words  on 
which  they  are  dependent. 

EXAMPLES: 

American  aristocracy  is,  to  some  extent,  a 
matter  of  wealth. 

By  study,  we  may  add  to  our  store  of  knowl- 
edge that  acquired  by  our  ancestors. 

(13)  It  is  used  to  set  off  a  conjunction  when 
it  is  divided  from  the  main  clause  dependent  on 
it  or  when  it  introduces  an  example. 

EXAMPLE:  The  collision  was  inevitable,  but, 
by  timely  assistance,  the  crew  was  saved. 


The  Preparation  of  Manuscripts    47 

(14)  It  is  used  occasionally  to  set  off  inter- 
jections. 

EXAMPLE: 

Yet  then  from  all  my  grief,  O  Lord, 
Thy  mercy  set  me  free. 

(15)  It  is  used  to  set  off  a  word  which  it  is 
desired  to  emphasize. 

EXAMPLE: 

Holy,  Holy,  Holy, 
Lord  God  Almighty  ! 

2.— THE  SEMICOLON  (  ; ) 

The  semicolon  is  used  to  indicate  a  separation 
in  the  relations  of  the  thought  in  a  compound 
sentence — a  degree  greater  than  that  expressed  by 
the  comma. 

(1)  It  is  used  to  separate  different  statements; 
that  is,  the  different  clauses  of  a  compound  sen- 
tence which  are  already  separated  by  commas. 

EXAMPLE: 

We  may  live  without  poetry,  music,  and  art; 
We  may   live   without   conscience,    and   live 

without  heart; 
We  may  live  without  friends;   we   may  live 

without  books; 
But  civilized  man  can  not  live  without  cooks. 

(2)  It  is  used  to  separate  two  or  more  simple 
members    of   a  sentence  when  these  require  a 
pause  greater  than  that  which  a  comma  would 
mark. 


48    The  Preparation  of  Manuscripts 

EXAMPLE:  Who  lives  to  nature  rarely  can  be 
poor;  who  lives  to  fancy  never -can  be  rich. 

(3)  It  is  used  before  "  as  "  when  employed  as 
an  introductory  to  an  example. 

EXAMPLE:  That  which  is  not  permitted  or 
allowed;  as,  the  illicit  sale  of  intoxicants. 

3.— THE  COLON  ( : ) 

The  colon  is  used  as  a  sign  of  apposition 
or  equality  to  connect  one  clause  with  another 
that  explains  it,  as  in  introducing  a  list,  a  quota- 
tion, an  enumeration,  or  a  catalog ;  or  to  join 
clauses  that  are  grammatically  complete  yet 
closely  connected  in  sense;  or  to  mark  any  dis- 
continuity in  sense  or  grammatical  construction 
greater  than  that  which  is  indicated  by  a  semi- 
colon, but  not  sufficient  to  require  a  period  or  a 
dash. 

(1)  It  is  used  to  separate  one  complete  clause 
from  another. 

EXAMPLES: 

The    power   to   bind  and  loose  to    Truth    is 

given: 
The    mouth  that  speaks   it  is  the    mouth  of 

Heaven. 

Love  is  the  emblem  of  eternity  :  it  confounds 
all  notions  of  time:  effaces  all  memory  of  a  be- 
ginning, all  fear  of  an  end. 

(2)  It  is  used  in  sentences  in  which  the  semi- 


The  Preparation  of  Manuscripts    49 

colon  has  been  introduced  when  a  greater  pause 
is  required  than  can  be  indicated  by  a  semicolon. 

EXAMPLE:  It  surely  was  not  obscurity;  it  was 
not  weakness:  it  was  a  want  of  that  sensitive 
taste  which  ought  to  breathe  its  delicate  sense 
of  fitness  into  the  plainest  phraseology. 

(3)  It  is  used  to  introduce  a  formal  quotation. 

EXAMPLE:  A  writer  in  the  Westminster  fieview 
discourses  in  this  fashion:  "  Another  curious 
observation  upon  philosophic  activity  is  that 
the  coordination  of  all  functions  which  consti- 
tute the  whole  intellectual  energy  of  philosophic 
minds  is  preserved  in  its  plenitude  for  only  a 
short  period  of  their  whole  duration  of  life."  l 

4.— THE  PERIOD  (.) 

1 i )  The  period  or  full  stop  is  used  after  every 
complete  declarative  statement. 

EXAMPLE:  Consider  the  end. 

(2)  After  title=headings  and  side=heads. 

(3)  After  most  abbreviations. 

EXAMPLES: 

A.  M.  for  ante  meridian  ;  LL.  D.  for  Doctor  of 
Laws  ;  e.g.  for  exempli  gratia  (for  the  sake  of 
example). 

(4)  After  Roman  numerals,  except  when  they 
are  used  to  number  pages. 


1  Phelps,  English  Style  in  Public  Discourse,  p.  133. 


so    The  Preparation  of  Manuscripts 

5. —THE  DASH   (  — ) 

The  dash  is  used  to  mark  (i)  a  change  of 
thought  or  construction,  or  (2)  an  emphatic  or 
unexpected  pause. 

EXAMPLES: 

(1)  He  may  live  without  books — what  is  knowl- 

edge but  grieving  ? 

He  may  live  without   hope — what  is  hope 
but  deceiving? 

(2)  What  say  ye  ?     Speak  now — now  or  never. 

6.— THE   INTERROGATION-POINT  (  ?  ) 

The  note  of  interrogation  or  eroteme  is  used 
at  the  end  of  a  sentence  to  designate  ( i )  a  single 
question  or  (2)  more,  and  (3)  is  sometimes  writ- 
ten in  parentheses  to  express  a  doubt  or  challenge 
the  accuracy  of  a  statement. 

EXAMPLES: 

(i)  Truths  would  you  teach,  or  save  a  sinking 
land? 
(2)  Father  of  Light  !     Great  God  of  Heaven  ! 

Hear'st  Thou  the  accents  of  despair? 
Can  guilt  like  man's  be  e'er  forgiven  ? 

Can  vice  atone  for  crimes  by  prayer? 
(3)  Peru.    Manco  Capac,  with  his   wife,  and 
sister  Mama  Ocello,  arrives  from  China  (?),  and 
claims  to  have  been  sent  by  the  Deity  to  reclaim 
the  tribes  from  savage  life. 


The  Preparation  of  Manuscripts    51 

7.— THE  EXCLAMATION=MARK  (!) 

The  note  of  exclamation  or  ecphoneme  is  used 
after  a  word  or  phrase  to  express  sudden  emotion, 
and  is  sometimes  repeated  for  emphasis. 

EXAMPLES: 

Ah!     What  were  man  should  Heaven  refuse 
to  hear! 

Never!  Never!  !  Never  !  !  ! 

8.— QUOTATION=MARKS  (".  .  .";  '.  .  .') 

(1)  Double    quotation-marks    or   guillemets    are 
used   to  designate  that  the  matter  within  them 
is  a  direct  quotation  from  another  author  or  is 
dialogue. 

(2)  Single  quotation=marks   are  used  within 
double   quotation=marks  to   designate   that    the 
matter  within  them  is  a  quotation  from  another 
author  or  speaker  cited  by  the  first  author  whose 
matter  is  printed  within  the  double  marks. 

EXAMPLES: 

"Grant    White,    referring    to    Milton,    says 
4  Milton  calls  Raphael  "the  affable  archangel," 
and  makes  Adam    say  to  him,  as  he  is  about 
departing  heavenward: 
'  Gentle  to  me  and  affable  hath  been 

Thy  condescension,  and  shall  be  honored  ever 

With  grateful  memory.'  " 

(3)  Double    quotation=marks    are    sometimes 
used  in  citing  titles,  as  of  books,  but  titles  are 


52    The  Preparation  of  Manuscripts 

often  printed  in  italic  type,  and  when  this  is  done 
quotation-marks  are  not  used. 

9.— PARENTHESES— (  ) 

(1)  The  parentheses  are  used  to  separate  an 
explanatory  or  qualifying  clause,  or  a  sentence 
inserted  in  another  sentence  which  is  grammat- 
ically complete  without  it. 

EXAMPLES: 

The  wallflower,  on  each  rifted  rock, 
From  liberal  blossoms  shall  breathe  down 
(Gold  blossoms  frecked  with  iron=brown) 
Its  fragrance. 

The  columbine  is  a  herbaceous  plant  of  the 
crowfoot  family  {Ranuncnlace&\  with  the  leaf- 
lets shaped  like  those  of  the  meadow=rue. 

(2)  They  are  used  also  in  connection  with  the 
titles  of  books  (a)  to  separate  the  place  and  date 
of  publication  from  the  text,  thus  preserving  the 
continuity  of  same  ;  (b)  to  enclose  references  or 
figures    denoting    numerical    sections  or  other 
divisions ;  (c)  to  enclose  notes  of  interrogation 
inserted  to  express  doubt  of  the  correctness  of 
the  statement  made. 

EXAMPLE:  (a)  Mrs.  Massingbird  published 
"  Sickness,  Its  Trials  and  Blessings  "  (London, 
1868). 

The  uses  referred  to  under  (£)  and  (c)  above 
are  so  frequent  as  not  to  require  illustration. 


The  Preparation  of  Manuscripts    53 

io.— THE  APOSTROPHE  (  '  ) 

The  apostrophe  is  used  to  denote  the  possess- 
ive case,  which  is  made  in  the  singular  by  add- 
ing s  with  an  apostrophe,  as  also  in  the  plural  of 
nouns  that  do  not  end  in  s — as,  man's,  men's. 
The  plural  possessive,  when  the  plural  already 
ends  with  an  s,  is  formed  by  adding  an  apos- 
trophe after  the  word — as,  horses'  teeth;  that  is, 
"  the  teeth  of  horses." 


ii.— THE  CARET  (^) 

The  caret  is  used  only  in  writing,  to  denote 
where  omitted  words  or  letters  are  to  be  inserted. 

12.— THE  DIERESIS  (  "  ) 

The  dieresis  or  dialysis    consists   of   two   dots 
placed  over  a  vowel. 

1 i )  It  is  placed  above  one  of  two  vowels  when 
these  follow  one  another,  to  show  that  they  do 
not  form  a  diphthong — as,  Danae. 

(2)  It  is   used   sometimes  (but,    in   general, 
modern   practise    discards  it)    over  the   second 
vowel  in  words  where  the  vowel  is  doubled — 
as,  zoophyte.      The  ' '  Standard  Dictionary  ' '  dis- 
cards the  dieresis  altogether. 

For  the  explanations  of  other  signs  used  in 
etymological  punctuation,  see  page  41. 


VIII 

INDEXING 

AN  index,  or  alphabetical  list  of  matters  dis- 
cussed in  a  book  or  set  of  books,  showing  where 
each  subject  is  to  be  found,  is  one  of  the  most 
valuable  adjuncts  to  a  book.  The  best  book  in 
the  world  would  lose  much  of  its  worth  as  a 
practical  literary  tool  if  devoid  of  an  index.  ' '  The 
worst  book/'  says  Horace  Binney,  "if  it  had 
but  a  single  good  thought  in  it,  might  be  kept 
alive  by  it." 

So  important  did  that  eminent  jurist,  the  late 
Lord  Campbell,  consider  an  index,  that  he  sug- 
gested that  the  British  copyright  law  should  be 
amended  in  such  a  way  as  to  deprive  any  author 
who  published  a  book  without  an  index  of  the 
protection  afforded  him  by  the  Copyright  Act. 

A  good  index  is  a  pass=key  to  the  contents  of 
a  book,  a  pilot  through  strange  seas  of  thought, 
without  which  few  readers,  no  -matter  how  ven- 
turesome, would  care  to  sail.  A  book  without 
an  index  is  like  a  ship  without  a  rudder. 

Pope  has  declared  that  he  who  knows  how  to 
make  a  good  index  ' (  holds  the  eel  of  science  by 
the  tail/'  and  we  may  add  that  he  who  knows 

54 


The  Preparation  of  Manuscripts    55 

how  to  consult  it  knows  how  to  dissect  the  eel. 
To  consultants  of  works  of  reference  or  of  treatises 
expounding  the  sciences  an  index  is  as  necessary 
an  implement  as  is  the  pen  to  the  scribe  or  the 
chisel  to  the  carpenter.  ' '  Those  authors  whose 
subjects  require  them  to  be  voluminous  would  do 
well,"  says  Henry  Rogers,  "if  they  would  be 
remembered  as  long  as  possible,  not  to  omit  a 
duty  which  authors  in  general,  but  especially 
modern  authors,  are  too  apt  to  neglect — that  of 
appending  to  their  works  a  good  index." 

HOW   TO   MAKE    AN   INDEX 

The  making  of  an  index  is  an  art  in  itself,  and 
on  the  care  given  to  its  compilation  depends  much 
of  its  value  as  a  short  cut  to  the  contents  of  the 
book  indexed.  The  author  who  takes  pride  in 
his  work  will  endeavor  to  prepare  a  comprehen- 
sive one,  and  will  find  that  the  best  method  to 
follow  is  to  compile  it  from  the  page  proofs  of  the 
work  as  they  reach  him  from  the  printer.  To 
assure  a  strict  alphabetical  arrangement,  an  index 
should  be  compiled  on  cards  or  on  small  sheets  of 
stiff  paper,  one  card  or  sheet  to  be  devoted  to 
each  subject  which  the  author  desires  shall  stand 
in  alphabetical  order.  On  this  card  or  sheet  the 
compiler  should  write,  in  addition  to  the  subject, 
the  number  of  the  page  of  the  book  on  which  the 
subject  is  treated.  This  plan  should  be  followed 


56    The  Preparation  of  Manuscripts 


throughout  the  entire  volume  ;  then  the  cards  or 
sheets  should  be  collated,  alphabetized,  and  filed 
for  verification. 

On  general  principles  it  is  advisable  to  avoid 
making  cross=references,  for  these  frequently  lead 
to  confusion  and  save  little  space.  If  an  entry  of 
the  nature  of  a  cross=reference  to  another  entry  is 
worth  recording  it  is  at  least  worthy  of  direct 
record.  Why  send  a  reader  from  pillar  to  post 
to  find  what  he  naturally  expects  to  find,  and  has 
the  right  to  find,  at  firsthand.  At  the  same 
time,  steps  should  be  taken  to  guard  against  over 
indexing,  a  practise  as  pernicious  as  that  of 
under  indexing,  and  a  good  example  of  which  is 
cited  by  Walsh  in  his  "Literary  Curiosities/' 
This  example  is  taken  from  the  index  to  Mivart's 
"Origin  of  Human  Reason/'  and  relates  to  a 
brief  story  concerning  a  cockatoo  : 


Absurd  tale  about  a  Cockatoo  .... 
Anecdote,  absurd  one,  about  a  Cockatoo 

Bathos  and  a  Cockatoo 

Cockatoo,  absurd  tale  concerning  one 
Discourse  held  with  a  Cockatoo    . 
Incredibly  absurd  tale  of  a  Cockatoo 
Invalid  Cockatoo,  absurd  tale  about 

Mr.  R and  tale  about  a  Cockatoo 

Preposterous  tale  about  a  Cockatoo  . 
Questions  answered  by  a  Cockatoo  . 

R. ,  Mr.,  and  tale  about  a  Cockatoo 

Rational  Cockatoo,  as  asserted     . 
Tale  about  a  rational  Cockatoo,  as  asserted 
Very  absurd  tale  about  a  Cockatoo  . 
Wonderfully  foolish  tale  about  a  Cockatoo 


136 
136 
136 
136 
136 
136 
136 
136 
136 
136 
136 
136 
136 
136 
136 


The  Preparation  of  Manuscripts    57 

Such  over  indexing  can  not  be  too  emphatically 
condemned;  an  item  of  the  kind  might  be  dis- 
missed after  a  single  entry  under  the  word 
"  Cockatoo. " 

After  the  last  sheet  of  the  book  has  been  exam- 
ined for  indexing,  the  index  should  be  put 
through  the  process  of  verification.  To  guard 
against  all  possibility  of  error,  this  should  be  done 
by  the  aid  of  the  plate  proofs,  with  the  folios  of 
which  every  entry  in  the  index  should  be  verified, 
as  in  the  course  of  printing  the  pagination  is 
sometimes  changed  through  the  addition  or  de- 
letion of  matter.  As  soon  as  this  work  has  been 
completed,  the  cards  or  sheets  should  be  pasted 
on  sheets  of  paper  of  the  same  size  as  the  original 
manuscript,  one  beneath  the  other,  in  strict  alpha- 
betical order.  This  matter  may  then  be  used  as 
copy,  and  sent  to  the  printer  for  composition. 

Some  authors,  having  compiled  the  copy  for 
their  index  from  pages  in  course  of  revision, 
have  been  known  to  leave  the  matter  of  verifica- 
tion until  they  receive  galley =proofs  of  the  index, 
a  course  which  often  leads  to  a  large  number  of 
costly  corrections.  This  practise  the  author  who 
seeks  to  foster  his  interests  will  not  follow. 

In  general,  works  of  fiction  not  based  on  his- 
tory need  no  more  than  a  table  of  contents,  but 
all  other  books,  especially  such  as  treat  of  human 


58    The  Preparation  of  Manuscripts 

activities,  of  the  sciences,  of  history,  of  biog- 
raphy, etc.,  should  be  freely  indexed,  for  to  such 
works  an  index  is  the  finger=post  that  guides  the 
reader  through  the  maze  of  thought  into  which 
the  whole  fabric  is  woven;  it  is  more  necessary 
than  a  contents,  and  more  important  than  even  a 
preface. 

Excepting  the  greater  part  of  fiction,  all  books 
that  are  worth  the  writing  and  the  printing  are 
entitled  to  a  good  index. 


IX 

PROOF-READING 

IN  printing,  a  proof  is  a  printed  trial  sheet 
showing  the  contents  or  condition  of  matter  in 
type,  or  of  an  electrotype  or  stereotype  plate,  en- 
graved block,  or  the  like,  either  with  or  without 
marked  corrections.  First,  second,  third,  etc., 
proofs  designate  proofs  of  a  work  in  its  progress 
toward  completion. 

An  author }s  proof  is  a  clean  proof  for  revision 
or  correction  by  an  author,  or  a  proof  returned 
by  him  on  which  he  has  made  his  corrections. 

* '  His  manuscripts,  as  well  as  his  proofs,  were 
commonly  so  disfigured  by  corrections  as  to  be 
read  with  difficulty  even  by  those  familiar  with 
his  script,"  wrote  John  Bigelow  of  William 
Cullen  Bryant,  and  it  might  be  as  truly  said  of 
thousands  of  writers  who  preceded  or  succeeded 
him.  No  department  adds  so  quickly  to  the  cost 
of  producing  a  book  as  that  of  correction,  for  the 
work  of  correcting  is  time-work,  and,  therefore, 
is  paid  for  by  the  time  it  takes.  Every  author 
should  so  prepare  his  copy  as  to  minimize  this 
charge. 

69 


60 


The  Preparation  of  Manuscripts 


The  manner  in  which  correction=marks  are 
made  on  a  proof  is  of  great  importance  in  the 
saving  of  time.  Time  saved  is  money  saved  to 
the  author,  who  may  save  time  by  writing  his 
corrections  neatly  and  clearly.  Straggling,  un- 
symmetrical  characters,  disconnected  marks 
placed  in  the  margins  above  or  below  the  lines  to 
which  they  relate,  irregular  lines  leading  from  an 
incorrect  letter  or  word  to  a  correction,  large 
marks,  marks  made  with  a  blunt  pencil,  indis- 
tinct marks,  and  the  frequent  use  of  an  eraser  to 
obliterate  marks  hastily  or  incorrectly  made,  are 
all  faults  to  be  avoided.  Corrections  so  made  are 
not  respected  by  the  compositor,  and  he  is  fre- 
quently annoyed  and  delayed  in  deciphering  what 
is  intended.  In  reading  proof  the  corrector 
should  take  advantage  of  white  space  as  near  as 
possible  to  the  error  and  place  the  correction 
thereon,  thus  aiding  all  who  have  occasion  to 
handle  the  proof  afterward. 

TYPOGRAPHICAL  MARKS  EXEMPLIFIED 
AND  EXPLAINED 

To  indicate  alterations  to  be  made  in  the  type, 
place  in  the  margin  of  the  proof  marks  corre- 
sponding to  those  placed  where  the  corrections 
are  to  be  made.  Make  these  marks  clearly  and 


The  Preparation  of  Manuscripts    ei 

neatly.     The  marks  may  be  explained  briefly  as 
follows  : 

^j    ,  push  down  space  or  quad  showing  with 
type. 

center  )  bring  the  opposite  line  to  the  place  in- 
dicated by  P. 
zff^  ,  insert  space  where  caret  (  *  )  is  made. 

Ci,  take  out  letters  or  words  canceled.  In 
eliminating  matter  from  proof,  be  sure  to  use 
the  printer's  mark  for  deletion.  Do  not  follow 
the  example  set  by  a  college  professor  (and  cited 
itt  "  A  Publisher's  Confession  ")  who  cut  a  para- 
graph out  of  a  proo&sheet  with  a  pair  of  scissors, 
being  fully  satisfied  that  by  this  method  the 
printer  would  understand  that  he  intended  the 
.excised  matter  should  be  deleted.  „ 

sg)  ,  turn  inverted  letter  underscored. 

stet,  restore  word  or  letter  inadvertently  can- 
celed (literally,  "let  it  stand  "). 

,  insert  apostrophe.     Other  superior  charac- 
are similarly  indicated  by  being  placed  in 
an  inverted  caret,  as^',^^  and  for  inferior 
characters  the  caret  is  made  in  its  usual  position 


indent  line  an  em. 

p  >,r  bring  matter  to  the  left.  The  mark  is 
reversed  (~\)  when  it  is  desired_to_move,  matter 
toJBbejright 


€2    The  Preparation  of  Manuscripts 

Cv/,  a  correction  suggested  to  the  author,  to 
be  followed  by  an  interrogation=point. 

( !,  lower  word  or  letter.     To  raise  a  word 

or  letter,  the  sign  P""""""!  is  used. 
CD  >  insert  period. 

The  change  of  a  word  or  of  a  letter  is  indicated 
by  a  line  drawn,  through  the  faulty  matter,  the 
word  or  letter  to  be  substituted  being  written 
opposite  in  the  margin. 

Omitted  words  or  letters  are  indicated  in  the 
same  manner,  a  caret  being  placed  where  the  in- 
sertion is  to  be  made. 

||,  justify  the  lines — that  is,  space  so  that  the 
margin  will  appear  even  and  straight. 

X  ,  broken  letter, 

A  logotype  character  is  indicated  by  a  tie— as, 


Tf- 


caps,  change  matter  underlined  to  capitals. 

tr.^  transpose  words  or  letter  underlined. 

^  >  draw  together  matter  indicated  by  a 
similar  mark  ia  type* 

No  %  run  on  matter  without  break. 

^^ ,  a  combination  of  S(  and  v^x,  signifying 
"  Take  out  canceled  character  and  close  up/' 

/.  c.9  change  matter  underlined  to  lower*case. 

r-mSr ,  straighten  lines. 

rom.y  roman  type. 

If  too  much  matter  has  been  omitted  by  the 


The  Preparation  of  Manuscripts       63 

compositor  to  be  conveniently  written  in  the  mar- 
gin of  the  proof,  "Out;  see  copy''  is  written, 
and  the  place  for  insertion  indicated  as  shown. 
Other  marks  used  will  prove  practically  self- 
explaining  by  reference  to  the  corrected  proof- 
sheet  that  follows. 

To  indicate  that  matter  set  is  required  in  a 
bolder  face  of  type  than  that  in  which  it  is 
printed,  underline  the  matter  and  write  "bold- 
faced "  or  "  full-faced ' '  in  the  margin  of  the 
proof. 


64   The  Preparation  of  Manuscripts 


y 


r*          THS  LOST  ART9.A 
Ladies  dnd  Gentlemen: 

1  am  to  talk  to  you  to»night  aboutj'he  Lost  Arts^-a 
lecture^hich  has  grown  under  my  hand  year  after  year^ 
•after  yoat ,  and  which  belongs  to  that  first  phase  of  the 
lyceum  system,  before  it  undertook  to  meddle  with  polit- 
ical duties  or<iri%ry JmcLdangerous) questions  of  ethics; 
when  it  Mas  merely  an  academic  institution^trying  to 
win  busy  men  back  to  books,  teaching  a  little  science, 
<9j  repeating  some  tale  of  foreign  travel,  or  painting 
some  great  representative  character,  the  symbol  of 
•BTs^age.  I  think  I  can  claim  a  purj 
momenta  amusement  in  this  glance  at_^arry""civilization. 
^[,  perhaps^might  venture  tociarrathat  it  was  a  med^ 
cine  for  what  is  the  mosyrfour  national  character;  and 
r~tbat  is  self/conceit^— an  undue  appreciation^  of  oui 
selves,  an  exaggerated  estimate  of  our  ach^fye  ments,  c 
our  inventions,  of  our  contributions  to  popular  comfort, 
and  of.  our  place,  in^actj  in  the  great  profession  of  the 
agesVWe  seem  to  imagine  that,  whether  knowledge  will 
die  with  us,  or  not,  it  certainly  began  withus^ 

AVe  have  a  pitying  ^ttenm,  a  tender  compassion,  for 
the  narrowness,  ignorance,  and  Darkness  of  the  bygone 
ages.  We  seem  to  monopolize  nofonly  to  puryfeeTves.  but 
to  have  begun,  the  era  of  light.  In  other  words,  we 
are  all'  running^with  a  fourtb/day/of^July  spirit  of  self* 
content.  I  am  often  reminded  of  the  eerman  whom  the 
English  poet  Coleridge  met  at  Frankfort^  It  seems  to 
me,  the^American  people  might  be  painjea  in  the  chronic_ 
attitude  of  taking  o/its  hat  to  itself/,and  therefore  it 
be  no  waste'of  time,  with  ah  amttence  in  such  a 
to  take  theireyes  for  a  moment,/rom  the  present 

ition,  and  guide  them  back  tb  that  earli 

:hat  history  Mlescribesv^oj/us,  if  vftv/were  only  for  the 
purpose  of  asking  whethe/ we  boast  on  the  right  line. 
I  might  despair  of  curi&g  the  habit  of  boastmg,.  but  I 
might  direct  it  better./ 

Wendell  Phillips.  I  • 


3 
^c 

_^ 

•/ 


But  Js  the  best  repon 


llip»,and!rAerfcct  In 
rt  in  existence. 


The  Preparation  of  Manuscripts    65 


THE  LOST  ARTS.' 

Ladies  and  Gentlemen  : 

I  am  to  talk  to  you  to-night  about  "The  Lost  Arts  "— 
a  lecture  which  has  grown  under  my  hand  year  after 
year,  and  which  belongs  to  that  first  phase  of  the  lyceum 
system,  before  it  undertook  to  meddle  with  political  du- 
ties or  dangerous  and  angry  questions  of  ethics  ;  when  it 
was  merely  an  academic  institution,  trying  to  win  busy 
men  back  to  books,  teaching  a  little  science,  or  repeat- 
ing some  tale  of  foreign  travel,  or  painting  some  great 
representative  character,  the  symbol  of  his  age.  I  think 
I  can  claim  a  purpose  beyond  a  moment's  amusement  in 
this  glance  at  early  civilization, 

I,  perhaps,  might  venture  to  claim  that  it  was  a  medi- 
cine for  what  is  the  most  objectionable  feature  of  our 
national  character ;  and  that  is  self*conceit, — an  undue 
appreciation  of  ourselves,  an  exaggerated  estimate  of  our 
achievements,  of  our  inventions,  of  our  contributions  to 
popular  comfort,  and  of  our  place,  in  fact,  in  the  great 
procession  of  the  ages.  We  seem  to  imagine  that,  whether 
knowledge  will  die  with  us,  or»not,  it  certainly  began 
with  us.  We  have  a  pitying  estimate,  a  tender  compas- 
sion, for  the  narrowness,  ignorance,  and  darkness  of  the 
bygone  ages.  We  seem  to  ourselves  not  only  to  monop- 
olize, but  to  have  begun,  the  era  of  light.  In  other  words, 
we  are  all  running  over  with  a  fourth«day*of=July  spirit 
of  self«content.  I  am  often  reminded  of  the  German 
whom  the  English  poet  Cpleridge  met  at  Frankfort.  He 
always  took  off  his  hat  with  profound  respect  when  he 
ventured  to  speak  of  himself.  It  seems  to  me,  the  Amer- 
ican people  might  be  painted  in  the  chronic  attitude  of 
taking  off  its  hat  to  itself;  and  therefore  it  can  be  no 
waste  of  time,  with  an  audience  in  such  a  mood,  to  take 
their  eyes  for  a  moment  from  the  present  civilization, 
and  guide  them  back  to  that  earliest  possible  era  that 
history  describes  for  us,  if  it  were  only  for  the  purpose  of 
asking  whether  we  boast  on  the  right  line.  I  might  de- 
spair of  curing  the  habit  of  boasting,  but  I  might  direct 
it  better! 
WENDELL  PHILLIPS. 

1  This  lecture  was  never  revised  by  Mr.  Phillips,  and  is  imperfect 
in  form  and  expression.  But  it  is  the  best  report  in  existence. 


SIZES    OF    TYPES,    WITH    NOTES    ON 
THEIR   USES 

THE  invention  of  movable  types  is  often  popu- 
larly referred  to  as  the  invention  of  printing, 
since  it  made  cheap  printing  possible.  In  some 
modern  (so  called)  typesetting=machines  the  in- 
dividual type  is  dispensed  with,  and  the  line  be- 
comes the  movable  unit.  Metal  types  are  cast  in 
a  mold,  and,  according  to  the  point  system,  now 
generally  adopted,  are  .918  of  an  inch  in  height. 
They  are  usually  nicked  on  the  lower  side,  for  the 
convenience  of  the  compositor,  or  sometimes  on 
two  sides,  for  distribution  by  a  mechanical  dis- 
tributor. Types  of  large  size,  as  for  poster=print- 
ing,  are  made  of  close=grained  wood — as,  apple, 
maple,  boxwood,  etc. — the  end  of  the  grain  being 
placed  upward,  and  subjected  to  pressure  to  give 
it  a  finish.  Rubber  types  are  much  in  use  for 
hand=stamps,  etc. ,  and  usually  have  a  metal  body 
half  an  inch  or  less  in  length,  and  a  soft  rubber 
face.  Metal  type  is  sometimes  copper-faced  by 
electrodeposition,  to  add  to  its  wearing  qualities. 
Type  is  high*sp&ced  where  shoulder=high  spaces 
are  used  for  electro  typing,  otherwise  low*spaced. 


The  Preparation  of  Manuscripts    67 

In  typography  the  unit  of  measurement  is  de- 
termined by  the  em  quad,  the  square  of  the  body 
of  any  size  of  type,  and  is  used  in  estimating  the 
cost  of  comppsition,  the  wages  of  typesetters,  and 
the  sizes  of  pages.  It  is  used  also  to  designate 
the  length  of  dashes  or  spaces,  etc. 

Formerly  it  was  the  practise  of  each  type= 
founder  to  establish  a  standard  of  his  own  for 
the  different  classes  of  type  he  cast,  and  master 
printers  who  purchased  fonts  from  different  type= 
founders  found  to  their  dismay  that  the  type  of 
one  foundry  would  not  justify  with  that  of  an- 
other, altho  it  was  designated  by  the  same  name 
in  the  trade.  The  inconvenience  which  this 
caused  led  to  the  devising  of  a  new  system  by 
which  types  cast  by  different  foundries  were  made 
interchangeable.  This  new  system  is  commonly 
known  as  the  Point  System,  and  is  a  standard 
system  of  sizes  (see  below)  for  type=bodies,  996 
points  of  which  are  equal  to  35  centimeters,  and 
one  point  is  .0138  inch,  as  adopted  by  the  Type= 
founders'  Association  of  the  United  States. 
Under  this  system  the  old  names  of  type=bodies 
— as,  nonpareil  (now  6=point),  bourgeois  (now 
9=point),  etc. — are  in  disuse. 

The  International  Typographical  Union,  which 
regulates  the  affairs  of  the  printers'  craft,  has 
adopted  the  following  type  standard,  which  is 


68    The  Preparation  of  Manuscripts 

based  on  the  measure  of  the  small  or  lower  =case 
letters  of  the  complete  alphabet.  In  establishing 
this  standard  the  em  quads  used  were  of  the  same 
size  as  the  type  measured  : 

Ems 

4j^=point,  or  Diamond   ......  18 

5=point,  or  Pearl  ........  17 

5j^=point,  or  Agate   .......  16 

6-point,  or  Nonpareil    .......  15 

7-point,  or  Minion      .......  14 

8=point,  or  Brevier    .......  14 

9=point,  or  Bourgeois     ......  13 

io=point,  or  Long  Primer      .....  13 

n*point,  or  Small  Pica    .  ...  13 

i2*point,  or  Pica     ........  13 

The  differences  in  printing  types,  as  to  body  or 
size,  are  shown  in  the  list  below  : 

POINT  SIZES.  OLD    NAMES 


.......... 

4»or4^point      ........      Diamond 

'''' 


o       ....       Agate  or  Euby  (English  name) 

e.point  ...........    Nonpareil 

7*point  .   ,  .........    Minion 

Brevier 


9*Pomt.  ....  ......  Bourgeois 

Long  Primer 
Small  Pica 


12.point 

14-pdnt  ..........  English 

.  Great  Primer 


The  Preparation  of  Manuscripts      69 

Differences  in  width  render  the  type  fat  or 
lean,  or,  if  quite  marked,  extended  or  condensed ; 
differences  in  face  are  almost  endless. 

Among  other  sizes  and  names  of  type  not  noted 
in  the  above  list  are  excelsior,  emerald  or  minion- 
ette,  ruby,  canon,  Columbian,  and  paragon.  In  the 
system  now  passing  into  disuse,  sizes  of  type 
larger  than  four=line  pica  are  usually  conformed 
to  a  pica  standard  and  named  by  the  multiple 
contained  —  as,  2o=line,  3o=line,  or  40-line  pica. 
Other  sizes  are  indicated  by  multiples  of  sizes 
above  pica — as,  double  English,  double  great  primer. 


XI 

HOW  TO  COMPUTE  THE   SPACE  THAT  A 
MANUSCRIPT  WILL  OCCUPY 

To  ASCERTAIN  the  space  which  a  given  num- 
ber of  words  will  occupy,  the  following  rule  will 
be  found  to  be  very  reliable  : 

Find  the  number  of  ' '  points  ' '  to  the  length  of 
line  you  desire,  and  also  the  depth  of  the  page. 
There  are  72  "points"  to  the  inch,  either  way. 
Thus,  if  a  line  is  to  be  3  inches  in  length,  there 
will  be  216  "points"  in  that  line.  Divide  this 
by  the  number  of  points  in  the  body  of  the  type 
in  which  the  matter  is  to  be  set.  For  instance, 
if  it  is  io=point  (long  primer),  there  will  be  21.6 
ems  to  the  line ;  8=point  (brevier),  27  ems,  and 
6O  on  through  all  the  points.  If  the  length  of  a 
page  be  5  inches,  then  there  would  be  360 
''  points  "  in  that  length,  or  36  ems  io=point;  45 
ems  8=point,  and  so  on  through  all  the  points. 
Now  the  square  of  that  for  io=point  would 
be  21.6  X  36  =  777-6  ems  (27  X  45  =  1215  for 
8=point). 

Now  divide  either  product  by  3,  and  you  have 
the  approximate  number  of  words  to  the  page, 

70 


The  Preparation  of  Manuscripts    71 

or  259  io=point,  405  8=point,  solid.  If  the  mat- 
ter is  to  be  leaded,  add  to  depth  measurement 
only  the  number  of  points  which  the  lead  will 
occupy  (ordinary  leads  are  2=point).  Thus,  in 
the  foregoing  examples,  the  length  of  page  being 
360  points,  add  2  points  for  leading  and  the 
io=point  becomes  12,  while  the  8=point  becomes 
10,  and  so  on.  Hence,  in  the  io=point  there 
would  be  but  30  lines,  while  in  the  8=point 
there  would  be  but  36  lines,  or  figured  out : 
21.6  X  30-4-  3  =  216  words  io=point;  27  X  36  -s-  3 
=  324  8=point  words  to  page  leaded  with  2=point 
leads. 

The  following  table  of  the  number  of  words  to 
the  square  inch  that  can  be  set  in  various  sizes  of 
type  will  be  found  useful  in  averaging  the  total 
number  of  pages  which  a  manuscript  will  make 
when  set  solid  : 

Number 
of  Words 

5*point,  or  Pearl 69 

5/^=point,  or  Agate 65 

6=point,  or  Nonpareil 47 

7=point,  or  Minion 38 

8=point,  or  Brevier 32 

g-point,  or  Bourgeois 28 

io=point,  or  Long  Primer 21 

ii^point,  or  Small  Pica 17 

I2=point,  or  Pica 14 

I4=point,  or  English n 

i8=point,  or  Great  Primer 7 

24*point,  or  Double  Pica 4 


XII 

NAfiES    AND    SIZES    OF    PAPER   FOR 
WRITING    AND    PRINTING 

THE  common  sizes  of  paper  known  by  name 
in  trade  use  are  given  in  the  following  table  as 
nearly  as  possible,  the  dimensions  (in  inches) 
being  subject  to  material  variation.  The  word 
folio  accompanying  the  name  of  any  size  of  paper 
usually  means  folded  once,  or  as  it  is  when  put 
up  into  quires ;  as,  crown  folio  is  the  crown  size 
folded  once,  apparently  reducing  the  area  one= 
half.  When  folded  twice  a  sheet  is  termed  a 
quarto,  or  4to ;  three  times,  octavo,  or  8vo ;  four 
times,  sextodecimo  (rarely  used:  commonly  called 
i6mo)  ;  five  times,  a  321110;  folded  three  times 
with  a  quarto  off  cut  set  in,  a  duodecimo  or  i2mo 
four  times  with  an  octavo  offcut  set  in,  a  241110. 

The  different  varieties  of  writing=papers  are 
classified  as  ledger,  bond,  linen  (of  different 
makes — as,  Old  English,  Japanese,  etc.),  and  flat, 
each  paper=maker  designating  the  different  qual- 
ities by  trade=mark  names. 

72 


The  Preparation  of  Manuscripts    73 


WRITING=PAPERS,    WITH  SIZES  AND  WEIGHTS 


NAME 

UNITED 
STATES 

Size 
in  inches 

WEIGHT 

NAME* 

GREAT 
BRITAIN 

Size 
in  inches 

Flat  cap  
Crown  

14X17 
15X19 

16X21 
16X42 

17X22 
17X28 
18X23 
18X46 
19X24 
20  X  28 
19X30 

21  X  32-33 

23X31 
22X34 
23X28 
23X28 
23X34 
23X36 
24X38 
26X33 
27X40 
31X53 
48X60 

14  to   20  Ibs. 
20  and  22    " 

20   to  30    " 
56  and  60    " 

14   to  28    " 

28   to  40    " 
24   to  40    " 
78  and  80    " 
20   to  44    t( 

54     ! 
44 
56  and  60     ' 
72     * 
32  to  48 

65    " 
80    " 
72  and  80    " 
88     c 

100        ' 

125     ' 

200        ' 
600        4 

Pott.  . 

I2J*  X  15 

i^/4  X  x6fc 
13$*  X  17 

I5K  X  19 

15^  X  20 

16     X  20 

I6fc  X  20% 
X7K  X  22 

19     X  24 
19     X27 

22       X30 

23^  X  34^ 

26     X34 
26^  X  40 
3i      X53 
48     X72 

Brief 

Foolscap  ,   .   . 
Post 

Demv  .  . 

Folio 

Copy  or  Draft 
lyarge  Post  .  . 

Double  Foolscap 
Medium 

Royal 

Super  Royal  .  . 
Double  Crown  . 
Double  Demy  . 
Imperial  .... 
Double  Folio  .  . 

Elephant  .... 
Colombier  .  .  . 
Double  Medium 
Double  Royal  . 
Atlas 

Double  Elephant 
Antiquarian   .   . 
Emperor  .... 

*  In  the  foregoing  table  the  leaders  denote  that  the  same  name 
is  used  in  Great  Britain. 

In  the  United  States  printing=papers  are  desig- 
nated by  their  respective  sizes  ;  in  Great  Britain 
formerly  they  were  designated  by  names,  but 
lately  the  American  practise  has  been  substituted. 


74    The  Preparation  of  Manuscripts 


In    the   following    table    only   stock   sizes  and 
weights  are  recorded. 

PRINTING=PAPERS,   WITH   SIZES   AND   WEIGHTS 


UNITED  STATES 

GREAT  BRITAIN 

Size 

Weight 

Name 

Size 

19     X25 

20       X  25 

22       X28 

22       X  32 
22#  X  28K 

23     X  33 
25     X3« 
25      X4Q 
26     X  40 
28     X42 
28     X44 
30^  X  41 
32      X  44 
33      X46 

60  Ibs. 
26  to    70    " 

35  "   135    " 

30        70 
no       170 

65        75 
30       130 
loo       140 
40        80 

50         120 
70         270 
80          120 
60          140 

1  10       190 

Post  

i5#  X  i9fc 

17     X27 
17^X22^ 
19     X24 

19*  X  23^ 
v?A  X  31* 
20     X  25 

20        X  30 
20^  X  21l/2 

22       X  30 

22^  X  35 
25      X4Q 

Double  Foolscap  .   . 
Demy        

Medium    

Sheet-and-Half  Post 
Double  Post    .... 
Royal 

Double  Crown   .   .    . 
Super  Royal  .... 

Imperial 

Double  Demy  .... 
Double  Royal  .... 

XIII 

ON   flAKINQ   UP  A   BOOK 

EVERY  author  should  be  familiar  with  the 
process  followed  in  making  up  or  arranging  into 
pages  type  matter  that  has  been  set,  so  as  to 
know  how  the  pages  of  a  book  should  be  cor- 
rectly laid  out.  The  practise  usually  followed  is 
to  begin  the  book  with  ( i )  a  half =title  (sometimes 
called  ' '  bastard  title  ' ' ) ,  printed  on  the  right=hand 
side  of  a  leaf,  or  first  page  of  the  book — (2)  the 
left=hand  side  (or  second  page)  of  which  should 
be  blank.  This  blank  page  is  followed  by  a  full 
title  (3)  printed  on  the  right =hand  side  of  the 
second  leaf,  or  third  page  of  the  book.  On  the 
reverse  side  of  this  leaf,  or  fourth  page  of  the 
book,  the  notice  of  copyright  (4)  should  be 
printed.  If  the  work  set  has  a  dedication  (5) 
this  usually  follows,  and  is  printed  on  the  right = 
hand  side  of  the  third  leaf,  or  fifth  page  of  the 
book ;  the  left=hand  side  of  this  leaf,  or  sixth  page 
of  the  book,  should  be  blank.  Where  no  dedica- 
tion is  inserted,  the  preface  (6)  follows  the  page 
containing  notice  of  copyright,  and  is  usually 
allowed  to  make  as  many  pages  as  the  author 

75 


76   The  Preparation  of  Manuscripts 

deems  necessary,  but  effort  is  generally  made  to 
bring  it  to  a  close  on  a  left=hand  page,  so  that  the 
list  of  contents  (7)  may  begin  on  a  right=hand 
page.  The  list  of  contents  is  followed  next  in 
order  by  a  list  of  illustrations  (8)  if  the  book  is 
illustrated  ;  by  the  text  (9)  or  main  body  of  the 
book;  by  the  appendix  (10),  if  there  be  neces- 
sity for  one;  and,  finally,  by  the  index  (n) — 
an  indispensable  pass=key  to  every  good  book. 

Some  authors,  especially  those  who  write  on 
scientific  subjects,  find  it  necessary  to  print  a  list 
of  the  errata  that  they  discover  in  their  own 
work  after  it  has  been  passed  finally  for  the 
press.  In  such  cases  it  is  better  that  the  errata 
should  face  the  first  page  of  the  text  of  the  book, 
and,  if  necessary,  be  printed  on  a  separate  full= 
sized  sheet.  Small  inset  slips  should  be  avoided 
as  likely  to  be  torn  out. 

Authors  will  note  that  at  the  bottom  of  certain 
pages  of  printed  matter — as,  for  example,  every 
eighth,  sixteenth,  or  thirty=second  page — there 
is  printed  a  symbol,  which  may  be  either  a  letter 
or  number  (numbers  are  most  commonly  used). 
This  symbol  designates  a  signature,  or  completed 
form,  or  sheet  of  a  work,  and  serves  as  a  guide 
to  the  pressman  in  imposing  the  book,  to  the 
folder,  and  to  the  collator  in  preparing  the  dif- 
ferent sheets  or  signatures  for  the  binder. 


XIV 

ILLUSTRATIONS 

IN  forwarding  material  to  be  used  for  illus- 
trative purposes,  whether  it  consists  of  photo- 
graphs, drawings,  paintings,  etc.,  authors  should 
exercise  more  than  ordinary  care  in  protecting 
them  from  all  chances  of  damage  and  to  keep 
them  flat.  As  has  already  been  pointed  out 
(page  5),  a  complete  list  of  the  illustrations  that 
are  to  be  inserted  in  the  text  of  a  book  should 
accompany  the  manuscript  when  this  is  des- 
patched to  the  publisher.  Instructions  marked 
on  the  manuscript  concerning  the  placing  of  these 
illustrations  are  useful  only  to  indicate  where 
they  are  to  be  put  when  the  originals  are  sup- 
plied by  the  author.  If  the  designs  are  to  be 
made  by  the  publisher's  artists,  duplicate  proofs 
of  these  designs,  when  the  cuts  have  been  made, 
are  usually  sent  to  the  author.  The  first  should 
be  pasted  on  the  margin  of  the  author's  corrected 
galley=proof  before  he  returns  it  to  the  printer, 
and  a  legend  for  each  illustration  should  be  sup- 
plied. Another  but  less  satisfactory  way  of  in- 

77 


78    The  Preparation  of  Manuscripts 

dicating  the  position  of  the  illustrations  is  to 
number  one  set  of  the  picture=proofs  consecu- 
tively, and  place  numbers  corresponding  to  them 
on  the  margins  of  the  galley=proofs.  These  cor- 
responding numbers  must  be  set  alongside  of  the 
paragraphs  to  which  the  illustrations  respectively 
belong ;  but  the  first  method  is  preferable,  as  elim- 
inating the  possibility  of  error  on  the  part  of  the 
maker-up.  The  duplicate  proof  the  author 
should  hold  for  reference,  or  as  a  check  on  the 
printer,  to  see  that  his  instructions  to  him  have 
been  carried  out. 

Care  should  be  taken  to  designate  whether  il- 
lustrations are  to  be  centered  or  set  in  toward 
either  of  the  margins.  Unless  precautions  are 
taken  to  indicate  this  clearly,  the  maker=up  may 
place  the  cut  on  the  wrong  side  of  the  page, 
or  may  use  his  discretion  and  place  it  where  he 
thinks  it  fits  best.  The  author  should  always 
bear  in  mind  that  the  printer's  only  means  of 
identifying  an  illustration  is  the  impression  of  it 
which  he  supplies. 

In  placing  illustrations  that  are  to  be  printed 
with  the  text  of  a  book,  it  is  desirable  to  scatter 
them  through  the  volume  instead  of  grouping 
them  together.  Full=page  illustrations  should  be 
so  arranged  as  to  be  printed  on  recto  pages,  where 
they  will  be  more  easily  seen.  When  a  full= 


The  Preparation  of  Manuscripts    79 

page  illustration  is  printed  lengthwise,  the  picture 
should  be  turned  outward  in  such  manner  that 
the  legend  relating  to  it  appears  on  the  outside 
margin,  and  not  on  the  inner  margin  of  the  page, 
as  was  the  practise  formerly.  If  printed  in  this 
way  not  only  is  the  illustration  more  easily  seen 
but  the  legend  is  more  easily  read,  and  the  bind- 
ing of  the  book  is  not  subjected  to  that  back= 
breaking  process  which  was  necessary  when  pic- 
tures were  turned  inward,  and  their  legends 
were  printed  on  the  inner  margins. 

The  transposition  of  illustrations  from  one  part 
of  a  book  to  another,  or  from  one  side  of  a  page 
to  another,  is  one  of  the  most  costly  processes  in 
the  making  up  of  type  into  pages,  and  sometimes 
causes  the  overrunning  of  a  great  deal  of  matter. 
This  work  is  charged  for  as  time=work,  and  in- 
'volves  heavy  expense.  Authors  who  desire  to 
keep  the  cost  of  correcting  their  work  down  to  a 
minimum  should  bear  these  facts  constantly  in 
mind. 

No  book  that  is  to  be  illustrated  can  be  made 
into  pages  until  the  blocks  on  which  the  illustra- 
tions have  been  engraved  are  supplied,  and  their 
respective  places  indicated  on  the  galley=proofs. 
Sometimes  it  happens  that,  through  unforeseen 
circumstances,  the  block  of  an  illustration  is  de- 
layed. In  such  cases,  when  neither  the  author 


so    The  Preparation  of  Manuscripts 

nor  the  publisher  wish  to  delay  the  making  up 
of  the  pages,  the  exact  size  of  the  belated  block 
is  sent  to  the  printer,  who,  if  instructed  to  do  so, 
can  leave  sufficient  space  in  the  page  to  allow  for 
it  and  for  its  legend,  to  be  set  in  later,  and  proceed 
with  his  work. 

Every  book  that  is  illustrated  should  contain  a 
list  of  the  illustrations  ;  this  list  usually  follows 
the  table  of  contents.  To  prevent  mistakes,  the 
list  should  be  prepared  from  the  plate=proofs  of 
the  book.  It  may  be  prepared  in  two  ways : 
alphabetically  (the  plan  usually  followed  with 
reference  books),  or  in  the  order  in  which  the 
illustrations  occur — this  being  the  plan  usually 
adopted  with  general  literature. 

There  are  several  methods  by  which  illustra- 
tions can  be  reproduced.  The  three  most  popu- 
lar, applied  to  illustrations  to  be  printed  in  black 
and  white,  are  the  zinc  etching,  made  from  a 
drawing  and  etched  on  a  zinc  plate  ;  the  half= 
tone  illustration,  which  can  be  reproduced  from 
a  photograph,  wash=drawing,  etc.,  is  etched  by 
mechanical  process,  chiefly  on  copper,  as  this  is 
productive  of  best  results  (halftone  work  in 
newspaper  offices  is  generally  etched  on  zinc), 
and  engraving  on  wood,  a  process  by  which  the 
design  required  is  either  drawn  or  photographed 
on  boxwood  and  engraved  by  hand.  This  L? 


The  Preparation  of  Manuscripts    si 

the  most  expensive  of  the  three  methods,  and 
the  result  depends  largely  on  the  skill  of  the  en- 
graver. Illustrations  are  also  reproduced  occa- 
sionally in  color  by  lithography  or  by  other 
different  color  processes  which,  by  the  combining 
of  certain  colors  and  tints,  produce  remarkable 
results. 

In  deciding  the  class  of  illustration  to  be  used, 
an  author  will  find  it  to  his  advantage  to  consult 
his  publisher,  and  should  be  guided,  in  a  great 
measure,  by  his  advice.  The  printing  of  illus- 
trations in  the  text  of  a  book  involves  the  using 
of  special  kinds  of  paper  best  suited  to  bringing 
out  the  finest  impression  that  can  be  obtained 
from  a  cut.  Engravers  invariably  print  on  a 
coated  paper  which  has  a  high  finish,  with  a  very 
black  ink,  so  as  to  bring  out  the  lines  with  the 
sharpness  and  brilliancy  of  the  original — a  result 
that  can  not  always  be  obtained  from  cuts  made 
by  the  halftone  process.  Notwithstanding  this 
objection,  the  greater  part  of  the  illustrations 
printed  in  books  and  periodicals  nowadays  are 
produced  by  this  process. 

In  considering  the  cost  of  the  different  proc- 
esses for  reproducing  illustrations  to  be  printed 
in  black  and  white,  the  author  should  bear  in 
mind  that  an  illustration  engraved  on  wood 
which  costs  one  hundred  dollars  to  produce  can 


82    The  Preparation  of  Manuscripts 

be  made  by  halftone  process  for  ten  dollars,  and 
by  zincography  for  about  four  dollars.  But  all 
designs  are  not  suited  to  the  same  process  of  re- 
production, and  here  again  the  author  will  do 
well  to  heed  his  publisher's  advice.  Color= 
printing  is  much  more  costly,  as  each  color  re- 
quires a  separate  printing,  whether  it  be  done  by 
lithographic  or  other  process.  Engraving  on 
steel  or  copper,  which  seems  to  have  passed  out 
of  popular  favor  for  book  illustrating,  is  now 
rarely  used,  except  in  the  reproduction  of  por- 
traits or  of  masterpieces  of  art.  Photogravure, 
or  the  process  of  producing  an  intaglio  plate  for 
printing,  and  the  gelatin  process,  in  which  a 
negative  is  made  on  a  gelatin  film  which  is  used 
for  printing  or  for  making  a  relief  printing=plate, 
have  some  vogue,  but  can  be  used  only  on  papers 
of  special  make,  and  as  a  means  for  illustrating 
books  are  usually  employed  only  where  the  pic- 
ture is  to  occupy  a  full  page  and  is  to  be  set  into 
the  book  by  the  binder  as  an  inset.  When  a 
number  of  these  have  to  be  inserted  in  a  book,  the 
publisher  furnishes  his  binder  with  a  dummy 
showing  the  place  of  insertion  for  each  inset  illus- 
tration; this  the  binder  must  have  before  the  dif- 
ferent signatures  of  the  book  are  collated  for  sew- 
ing and  binding. 

The    cost  of  color4ithography,   of   the  iris, 


The  Preparation  of  Manuscripts     83 

quadri=,  and  other  color  processes,  of  steel  and 
copper  engraving,  of  photogravure,  and  of 
reproduction  by  the  gelatin  process,  is  much 
greater  than  that  of  reproduction  by  zincog- 
raphy or  halftone  process,  but,  excepting  color* 
lithography  and  engraving  on  steel  or  copper, 
generally  less  than  that  charged  for  engraving  on 
wood. 

If  an  author  wishes  to  guard  against  the  copy- 
ing, by  unscrupulous  persons,  of  the  illustrations 
which  embellish  his  book,  it  is  necessary  for  him 
to  secure  a  copyright  upon  them.  The  general 
copyright  which  an  author  or  a  publisher  secures 
to  protect  the  contents  of  a  book,  while  it  is 
understood  to  protect  everything  within  the 
covers  of  that  book,  does  not  always  do  so,  for 
some  jurists  hold  that,  according  to  the  letter  of 
the  law,  illustrations  that  are  bound=in  with  a 
book  do  not  constitute  an  integral  part  of  that 
book,  and  that,  therefore,  if  protection  is  required 
for  same,  each  must  be  copyrighted  separately. 
As  a  matter  of  fact,  the  law  makes  no  provision 
for  such  cases,  and  is  subject  to  the  personal  in- 
terpretation of  the  judges.  This  is  a  most  un- 
satisfactory condition  of  affairs,  and  in  view  of 
it  authors  wishing  to  secure  the  contents  of  their 
works  from  piracy  or  plagiarism,  in  cases  where 
separate  illustrations,  maps,  or  other  designs  or 


84    The  Preparation  of  Manuscripts 

devices  are  given  in  their  books,  should  copy- 
right each  one  separately,  and  print  the  fact  that 
this  has  been  done  on  each  separate  subject. 
For  further  information,  see  the  chapter  entitled 
"  How  to  Secure  a  Copyright. " 


XV 

ON  SUBfllTTINQ    flANUSCRIPTS   FOR 
PUBLICATION 

CHOOSING  A   PUBLISHER 

THERE  are  several  considerations  of  which  an 
author  must  take  cognizance  before  he  makes  ar- 
rangements for  the  publication  of  his  manuscript. 
Above  all  things,  he  should  take  care  to  associate 
himself  only  with  a  reputable  house,  and  beware 
of  the  many  so=called  publishing  l '  companies ' ' 
with  high=sounding  names  which  are  conducted 
by  sharks,  whose  purpose  is  only  to  prey  upon 
the  unwary.  He  should  avoid  the  mushroom 
firms — firms  that  spring  up  overnight,  and* blazon 
their  way  with  pyrotechnic  set=pieces  of  advertis- 
ing, for  which  they  pay  a  high  price  for  the  sake 
of  impressing  the  public  with  their  importance. 
Firms  like  these  flash  in  the  pan.  They  are  not 
unlike  a  barrel  of  gunpowder  to  which  a  light 
has  been  set ;  they  flash  brilliantly,  and  for  a 
little  while  make  a  great  noise ;  then,  when  all 
is  over,  nothing  remains  but  ashes  and  death= 
like  silence. 

To  find  out  the  financial  standing  of  a  publish- 
es 


86    The  Preparation  of  Manuscripts 

ing  house  is  a  comparatively  easy  matter.  It  can 
be  done  by  applying  for  a  report  from  any  of  the 
commercial  agencies,  or  by  making  inquiries 
through  one's  bankers,  or  through  friends  ;  for  if 
a  firm  is  reputable,  the  world  at  large  usually 
knows  it.  The  light  of  a  publisher  known  for 
fair  dealing  can  not  be  hidden  under  a  bushel. 

Beware  of  the  sharks,  for  they  write  very  flat- 
tering reports  of  authors'  works  —  reports  so 
unctuous  that  the  writers  hope  to  beguile  their 
victims  with  them.  One  may  be  fascinated  so 
easily  with  the  charming  manner  of  Mr.  Shark 
and  the  cordial  welcome  he  extends  that  the 
signing  of  a  contract  with  him  is  a  pleasure. 
But  beware  of  the  awakening!  The  terms,  the 
full  significance  of  which  the  unfortunate  author 
sometimes  learns  too  late,  may  land  him  into 
debt  with  Messrs.  Shark  &  Company  for  several 
hundreds  of  dollars  for  publishing  his  book,  of 
which,  as  is  often  the  case,  very  few  copies  have 
been  sold  besides  those  sold  with  the  help  of  the 
author. 

THE  CHARACTER  OF  THE  MANUSCRIPT 

Among  other  things  which  the  author  must 
consider,  the  first  is :  What  is  the  character  of 
his  manuscript?  Is  it  a  work  of  reference,  one  of 
scientific  research,  or  a  theological  treatise  ?  Per- 


The  Preparation  of  Manuscripts      87 

haps  it  is  a  novel,  historic  or  purely  romantic,  or 
a  biography,  or  reminiscence  ?  It  may  be  a  work 
of  value  as  an  educative  medium,  as  a  history  or 
geography,  or  a  treatise  on  some  one  other  branch 
of  learning.  Therefore,  authors  contemplating 
the  submitting  of  manuscripts,  before  seeking  a 
publisher,  should  first  inform  themselves  of  the 
class  of  publications  he  issues.  The  author  will 
find,  as  a  general  rule,  that  the  publisher  of  theo- 
logical books  will  seldom  undertake  the  produc- 
tion of  novels  other  than  of  a  religious  character, 
or  such  as  teach  some  moral  lesson,  unless  they 
are  of  exceptional  merit.  The  man  who  makes  a 
practise  of  issuing  books  of  reference  is  not  likely 
to  enter  the  field  of  frivolity,  which  supplies  the 
light  summer  reading  sought  eagerly  by  the  giddy 
throng.  He  whose  catalog  bristles  with  titles 
of  medical  treatises  or  surgical  works,  and  their 
different  branches,  would  hesitate  to  embark  in 
works  of  a  theological  character. 

So  the  author  should  make  a  judicious  and 
not  an  impulsive  selection  in  choosing  the  man 
to  whom  he  intends  to  submit  his  work.  If  he 
does  this  he  may  relieve  himself  of  the  unpleas- 
ant experience  of  having  his  manuscript  rejected, 
for  no  other  reason  than  it  does  not  fit  with  the 
class  of  books  issued  by  the  publisher  to  whom  it 
has  been  submitted.  In  some  respects  a  publish- 


88   The  Preparation  of  Manuscripts 

er's  business  is  not  unlike  many  another  business. 
Few  men  who  deal  in  dry=goods  expect  to  trade 
in  battleships  ;  he  who  builds  battle=ships  has  lit- 
tle use  in  his  yard  for  the  bargain  counter.  There- 
fore, before  forwarding  the  manuscript  it  will  be 
found  preferable  to  submit  a  synopsis  of  the  con- 
tents of  the  volume  proposed,  showing  its  scope 
and  explaining  its  purpose.  In  the  event  of  the 
book  being  one  suited  to  the  publisher's  clientele, 
the  author  will  then  be  invited  to  submit  the 
manuscript. 

Manuscripts  submitted  for  publication  should 
always  be  kept  flat.  The  sheets  should  be  num- 
bered consecutively,  and  fastened  together  in 
such  a  way  that  they  can  be  easily  turned  over. 
Never  roll  or  fold  a  manuscript  that  is  to  be  sub- 
mitted to  a  publisher.  Before  despatching  the 
manuscript,  insure  it  against  loss  in  transit.  A 
letter  advising  the  publisher  to  whom  it  is  ad- 
dressed should  precede  the  manuscript.  In  this 
letter  the  author  should  request  that  care  be 
exercised  with  his  manuscript,  and  that  it  be  in- 
sured against  loss  by  fire  while  it  remains  in  the 
publisher's  custody. 

TERMS  OF  PUBLICATION 

Assuming  the  manuscript  is  accepted,  the  pub- 
lisher may  offer  (i)  to  purchase  it  outright  for 
a  lump  sum,  in  which  case,  if  the  offer  be  ac- 


The  Preparation  of  Manuscripts    89 

cepted,  he  purchases  at  the  same  time  the  rights 
of  translation  and  dramatization,  except  the 
author  stipulates,  before  the  signing  of  his  con- 
tract, that  he  reserves  these  rights  for  himself  ; 
or  (2)  to  publish  it  on  a  royalty  basis,  in  which 
case  the  rights  of  translation  and  dramatization 
are  provided  for  separately.  In  publishing  books 
on  a  royalty  basis  it  is  usual  for  the  publisher  to 
assume  the  entire  cost  of  production,  which  in- 
cludes that  of  composition,  paper,  press=work, 
and  binding. 

ABOUT   ROYALTIES 

In  considering  the  subject  of  royalty,  the  author 
should  bear  in  mind  several  things,  the  chief  of 
which  is  not  to  believe  implicitly  all  the  stories 
that  are  told  by  word  of  mouth  or  in  the  press 
of  the  immense  sums  of  money  said  to  have 
been  paid  to  other  authors  as  royalties  on  the 
sales  of  their  books,  and  the  next  is  to  remem- 
ber not  to  kill  the  goose  that  may  lay  him  a 
golden  egg  by  exacting  too  large  a  royalty  from 
his  publisher.  If  a  publisher  does  not  offer  to 
purchase  an  author's  work  outright,  but  offers  to 
publish  it  on  a  royalty  basis,  the  author  should 
not  conclude  that  the  publisher  has  only  little 
faith  in  the  book.  He  should  remember  that,  in 
offering  to  publish  it  on  this  basis,  the  publisher 


oo    The  Preparation  of  Manuscripts 

shows  his  faith  by  his  willingness  to  incur  heavy 
liabilities  in  producing  the  book.  These  liabilities 
may  be  briefly  summarized  as  follows  :  ( i )  The 
publisher  usually  makes  an  advance  to  the  author 
on  account  of  prospective  royalties  ;  (2)  he  pays 
an  editor  to  prepare  the  manuscript  for  the  press, 
for  as  a  rule  authors  lack  the  technical  knowledge 
necessary  to  enable  them  to  do  this  work  for  them- 
selves; (3)  he  pays  the  printer  for  the  composi- 
tion and  the  press=work  ;  (4)  he  pays  the  binder 
for  binding  the  book  ;  and  (5)  he  maintains  a 
staff  of  persons  whose  duty  it  is  to  draft  and  place 
advertising,  to  distribute  the  book  to  the  press, 
to  sell  it  and  ship  it  to  the  purchasers,  to  keep 
accounts,  and  to  promote  in  general  the  interests 
of  the  author.  It  stands  to  reason  that  if  a  pub- 
lisher has  to  do  all  this  he  can  not  afford  to  enter 
into  a  contract  that  shall  guarantee  the  author  a 
large  royalty.  Not  many  years  ago  10  per  cent, 
was  the  amount  of  royalty  almost  invariably  paid 
to  authors  by  publishers,  and  then  authors  were 
glad  to  accept  it.  There  were  fewer  authors  then, 
and  most  of  the  books  published  were  successes. 
But  times  have  changed  ;  to=day  their  name  is 
legion,  and  their  demands  often  absurdly  ex- 
travagant. 


The  Preparation  of  Manuscripts    91 

LARGE  ROYALTIES  OFTEN  RUINOUS 
Some  authors  insist  upon  a  royalty  of  20  per 
cent. ,  and,  like  butterflies  that  flit  from  flower  to 
flower,  they  go  from  one  publisher  to  another  in 
their  efforts  to  get  it,  often  with  the  result  that 
they  place  their  books  in  the  hands  of  a  different 
publisher  every  time  they  write  a  new  one,  and 
no  one  publisher  has  any  particular  interest  in 
them  because  his  interest  can  not  be  made  cumu- 
lative. In  other  words,  if  a  publisher,  having 
launched,  with  a  fair  measure  of  success,  one  book 
by  a  new  author,  has  no  guarantee  that  he  will 
get  the  second  book,  or  for  that  matter  any  other 
book  from  the  same  pen,  he  loses  interest  in  that 
author.  Authors  should  foster  the  good  will  of 
their  publishers  as  much  as  the  publishers  foster 
their  friendship.  Of  course,  there  are  occasions 
where  a  publisher  who  has  issued  a  fairly  success- 
ful book  finds  it  necessary  to  decline  a  second  book 
by  the  same  author — perhaps  on  account  of  the 
theme  or  the  moral  tone  of  the  work  offered. 
In  such  a  case  that  author  is  at  liberty  to  go 
further  afield  to  place  his  work ;  but  if  he  has 
written  a  good  book,  and  his  first  book  has  paid 
its  expenses,  he  may  rest  assured  that  his  pub- 
lisher will  not  refuse  to  print  it. 

In  common  fairness  to  both  author  and  pub- 
lisher, let  us  consider  for  a  moment  the  ratio  of 


92    The  Preparation  of  Manuscripts 

profit  of  a  publisher  as  compared  with  that  of 
an  author  who  receives  20  per  cent,  royalty.  In 
the  words  of  the  writer  of  that  very  interesting 
and  useful  little  be  ok  entitled  "A  Publisher's 
Confession,"  recently  issued,  "the  retail  price 
of  a  novel  is  $1.50.  The  retail  bookseller  buys 
it  for  about  90  cents.  The  wholesale  bookseller 
buys  it  from  the  publisher  for  about  80  cents. 
This  80  cents  must  pay  the  cost  of  manufacturing 
the  book  ;  of  advertising  it ;  must  pay  its  share 
toward  the  cost  of  keeping  the  publisher's  estab- 
lishment going — and  this  is  a  large  and  increas- 
ing cost;  it  must  pay  the  author,  and  it  must 
leave  the  publisher  himself  some  small  profit. 
Now  if  out  of  this  80  cents,  which  must  be 
divided  for  so  many  purposes,  the  author  receives 
a  royalty  of  20  per  cent.  (30  cents  a  copy),  there 
is  left,  of  course,  only  50  cents  to  pay  all  the 
other  items.  No  other  half=dollar  in  this  world 
has  to  suffer  such  a  careful  and  continuous 
division ! ' ' 

HOW   MANUSCRIPTS  ARE   READ 

Authors  as  a  class  are  not  usually  informed  of 
the  methods  followed  by  publishers  in  consider- 
ing the  different  manuscripts  submitted  to  them 
for  publication.  Therefore  one  may,  perhaps, 
be  permitted  to  say  a  few  words  on  this  subject. 


The  Preparation  of  Manuscripts    93 

Every  reputable  publishing  house  employs  a 
number  of  readers,  whose  duty  it  is  to  read  man- 
uscripts independently  the  one  of  the  other. 
These  readers  are  not  always  staff  ^workers,  but 
sometimes  are  literary  advisors  or  experts  upon 
whom  the  publisher  may  call  at  any  time  for  the 
expression  of  opinion  on  the  payment  of  a  special 
honorarium.  In  the  publisher's  own  office,  how- 
ever, there  are  usually  two  or  more  readers  to 
whom  manuscripts  are  submitted,  and  on  whose 
judgment  the  publisher  either  arrives  at  a  deci- 
sion or  calls  for  further  reports,  and  submits  all 
the  reports  received  to  his  associates  in  business, 
for  the  purpose  of  determining  finally  whether  or 
not  his  house  shall  undertake  the  publication. 
At  such  a  meeting  the  opinions  of  the  men  who 
sell  his  books  for  him  usually  have  weight  with 
the  publisher.  They  are  practical  men,  practical 
in  their  knowledge  of  the  selling  qualities  of 
books.  If  a  traveling  salesman  is  in  town  his 
opinion  is  sought  also,  and  even  those  of  the 
mail  and  shipping  clerks,  whose  duties  keep 
them  in  touch  with  the  popular  demand.  It  is 
at  just  such  a  conference  as  this  that  the  pos- 
sible selling  qualities  of  a  book  are  thoroughly 
considered,  and  it  is  seldom  that  a  judgment  is 
faulty  that  is  based  upon  such  points  as  are 
brought  out  there. 


94    The  Preparation  of  Manuscripts 

In  the  words  of  the  author  of  "  A  Publisher's 
Confession,"  the  following  is  the  usual  course 
pursued  with  a  manuscript :  "  A  first  reader — a 
man  of  all=round  general  knowledge  of  books, 
and  he  ought  to  be  a  man  full  of  hard  common 
sense,  common  sense  being  worth  more  than 
technical  literary  knowledge — the  first  reader 
examines  the  manuscript.  If  it  be  a  shop=worn 
piece  of  commonplace  work,  obviously  hopeless, 
he  may  not  read  it  from  preface  to  end,  but  he 
must  say  in  his  written  report  whether  he  has 
read  it  all.  Whether  he  condemn  or  approve  it, 
it  is  examined  or  read  by  another  reader.  If 
both  these  condemn  it  as  hopeless,  the  publisher 
declines  without  more  ado. ' '  Seldom  indeed  are 
mistakes  made  with  manuscripts  that  have  been 
read  by  two  readers,  both  of  whom  declare  them 
to  be  worthless. 

ON   THE   VALUE   OF   ADVERTISING 

Even  after  a  publisher  accepts  a  manuscript 
all  is  not  plain  sailing  for  him.  Many  a  well- 
written  book  has  fallen  flat  because  it  has  not 
caught  the  public  fancy.  The  author  says,  natu- 
rally: "  Advertise  and  catch  it."  The  publisher 
may  advertise  in  an  endeavor  to  do  so  and  create  a 
demand,  but  if  the  public  says  "  No  !  "  he  might 
as  well  try  to  stem  the  flow  of  Niagara  as  to  ad- 


The  Preparation  of  Manuscripts    95 

vertise  in  the  hope  that  he  can  compel  an  unwill- 
ing public  to  accept  his  wares.  It  is  a  fallacy  to 
believe  that  advertising,  even  tho  it  be  on  a  broad 
scale,  will  assure  the  success  of  a  book.  It  may 
help  a  little,  but  that  is  about  all  it  can  do.  Be- 
sides, advertising  costs  money,  ' '  big  money, ' '  and 
unless  each  advertisement  repays  its  cost  by  sale, 
and  shows  a  margin  of  profit,  to  advertise  is 
simply  to  drop  money  into  the  ocean. 

Authors  almost  invariably  believe  that  the 
publisher  who  spends  most  money  in  advertising 
sells  most  books.  This  is  far  from  the  case,  and 
the  point  can  not  be  better  illustrated  than  from 
practical  experience.  Some  years  ago  a  certain 
publisher  who  advertised  loudly  and  widely  made 
it  his  practise  to  print  daily  in  the  newspapers 
' '  We  publish  a  new  book  every  day  in  the  year. ' ' 
The  catch=line  was  fascinating ;  it  brought  the 
publisher  some  authors  and  many  would=be 
authors.  But  after  a  few  years  the  business  went 
into  the  hands  of  a  receiver  ;  it  never  recovered 
from  the  shock.  This  publisher  was  the  victim 
of  over  advertising. 

ADVERTISING   THAT   HELPS 

The  personal  element  has  much  to  do  with  the 
success  of  a  book,  especially  if  it  be  a  book  of 
fiction.  Books  sell  by  being  talked  about,  not 


96    The  Preparation  of  Manuscripts 

only  among  the  author's  friends  but  in  outer 
circles.  In  many  respects  a  book  is  like  a  play. 
Many  people  go  to  the  theater  without  the  least 
idea  of  the  plot  of  the  play  they  are  going  to  see. 
Of  course  the  play  has  been  criticized,  but  in 
these  days  of  theatrical  trusts  dramatic  criticisms 
count  for  little,  while  the  personal  element  counts 
for  much.  If  you  see  a  play  and  are  pleased 
with  it  you  bubble  over  with  enthusiasm  about  it, 
you  tell  your  friends  ;  they  go,  and  they  in  turn 
enthuse,  tell  their  friends,  and  step  by  step  the 
success  of  the  play  is  assured.  It  is  much  the 
same  with  a  book;  but  to  be  successful  nowadays 
outside  the  field  of  reference  books,  the  author 
who  wishes  to  write  must  have  a  story  to  tell, 
and  he  must  tell  it  straight  from  the  shoulder, 
and  with  as  few  interlardments  to  interrupt  the 
narrative  as  possible.  Men  and  women  who  read 
fiction  to-day  read  it  chiefly  for  pastime  or  diver- 
sion ;  as  a  rule,  they  do  not  care  to  be  hampered 
at  every  step  with  page  after  page  of  scenic  de- 
scription, no  matter  how  vividly  penned.  They 
want  action  and  a  good  plot,  ingeniously  devel- 
oped, to  maintain  their  interest  in  the  story. 
Authors  who  contemplate  entering  into  the  field 
of  fiction  should  remember  this:  as  sure  as  brevity 
is  the  soul  of  wit,  so  sure  is  action  the  strength 
of  a  story. 


The  Preparation  of  Manuscripts    97 

While  the  fiction=reading  public  wants  action, 
it  does  not  want  too  much  action  in  too  short  a 
time.  Action  can  be  overdone — has  repeatedly 
been  overdone.  An  example  of  this  is  provided 
by  a  recently  published  novel.  Here  are  the  per- 
formances of  the  hero  in  one  chapter  only :  ' '  His 
countenance  fell"  ;  "his  voice  broke"  ;  "his 
heart  sank  "  ;  ' '  his  hair  rose  "  ;  '  *  his  eyes 
blazed";  "  his  words  burned,"  and  "  his  blood 
froze!"  Remember,  "Enough  is  as  good  as  a 
feast." 

BEWARE   OF    LIBEL 

In  works  treating  on  topics  of  the  day,  or  in 
those  in  which  the  personal  element  predomi- 
nates, authors  should  take  great  care  to  avoid 
offensive  personalities,  or  references  that  may  be 
construed  as  libelous,  for  no  publisher  will  ac- 
cept the  responsibility  of  disseminating  insinua- 
tions for  which  he  might  become  liable  at  law. 

HOW   TO   AVOID    COPYRIGHT    INFRINGE- 
MENT 

Great  care  should  also  be  exercised  by  authors 
who  cite  from  the  writings  of  others.  To  avoid 
the  possibility  of  a  suit  for  the  infringement  of 
copyright,  an  author  who  wishes  to  quote  from 
the  work  of  another  should  first  obtain  his  per- 
mission (or  that  of  his  publisher)  to  do  so.  If 


98    The  Preparation  of  Manuscripts 

he  fails  in  this,  and  makes  use  of  copyrighted 
matter,  he  lays  himself  open  to  suit  for  damages 
for  the  infringement  of  copyright.  This  applies 
also  to  the  use  of  illustrative  material,  be  it  paint- 
ing, photograph,  or  drawing,  which  has  been 
protected  by  law. 

HOW,   WHEN,   AND    WHERE   THE   AUTHOR 
CAN   HELP 

An  author's  responsibility  to  himself,  to  his 
publisher,  and  to  the  public  does  not  end  with 
the  acceptance  of  his  book,  nor  when  it  has  been 
placed  on  the  market.  Then,  if  at  any  time,  his 
help  to  encourage  its  sales  is  most  needed.  His 
duty  lies  in  bringing  his  work  to  the  notice  of 
his  friends,  not  obtrusively,  and  through  them  to 
their  friends  in  such  manner  that  he  may  uncon- 
sciously construct  an  almost  endless  chain  of 
readers.  Above  all,  he  should  avoid  the  hack- 
neyed phrase,  * '  Have  you  read  my  last  book  ?  ' ' 
For,  if  he  heeds  not  this  advice,  he  may  be  the 
target  of  some  wit  with  the  cutting  repartee  :  ' '  I 
hope  so  ! ' ' 

The  author  should  enlist  the  help  of  all  literary 
critics  he  may  know,  secure  opinions  and  endorse- 
ments of  his  work  from  them,  and  from  all  lead- 
ing men  and  women  of  his  acquaintance.  By 
doing  this  work  of  propaganda  he  will  reap  the 


The  Preparation  of  Manuscripts    99 

reward  of  his  efforts  to  assist  his  publisher  by  in- 
creased sales. 

The  publisher  takes  care  of  the  trade  side  of 
the  transaction.  It  is  he  who  distributes  the 
book  broadcast  over  the  land  to  booksellers,  to 
libraries  and  literary  clubs,  to  the  public  in  gen- 
eral, and  to  the  various  "inns,"  of  which  it  is 
the  main  support.  It  is  he  who  sends  out  the 
copies  of  a  work  to  the  press  and  watches  for 
notices,  but  the  author  should  second  his  efforts 
with  suggestions,  by  drafting  catchy  descriptions 
of  his  work,  or  by  any  other  means  in  his  power. 
Many  books  are  failures  because  of  the  lack  of 
interest  shown  by  the  author  when  ' '  the  gilt  is 
off  the  gingerbread" — that  is,  when  the  book  is 
on  sale,  and  he  has  received  a  check  in  advance 
on  account  of  expected  royalties. 

It  is  the  author's  duty  to  offer  suggestions  on 
advertising,  circularizing,  or  any  other  means  by 
which  facts  about  his  book  may  be  disseminated  ; 
but  he  should  not  insist  upon  their  adoption  if 
his  publisher  advises  him  of  their  impracticability 
through  costliness  or  other  causes.  This  applies 
also  to  the  manufacturing  side  of  book=making. 
In  this,  as  in  the  foregoing,  the  author  may  fit- 
tingly offer  suggestions,  but  should  be  ready  to 
modify  them  if  called  on  to  do  so  for  some  good 
cause.  He  must  at  all  times  be  willing  to  yield 


ioo  The  Preparation  of  Manuscripts 

his  idiosyncrasies  when  told  they  are  not  to  his 
interest. 

CONCERNING   TYPOGRAPHY   AND   ILLUS- 
TRATIONS 

In  matters  of  typography  an  author's  tastes,  if 
they  be  normal,  should  be  considered;  but  in  this 
respect,  as  in  all  others  on  which  the  success  of 
his  book  depends,  he  should  be  ready  to  abandon 
whims  for  the  more  practical  advice  and  the  ex- 
perience of  his  publisher,  on  which,  the  author 
will  do  well  to  bear  in  mind,  the  success  of  the 
publisher's  business  depends. 

The  possibilities  of  typography  are  limited. 
Type=faces  once  common  may  now  be  obsolete. 
To  obtain  them  would  require  the  making  of 
special  matrixes,  a  long  delay,  and  a  heavy  ex- 
pense for  the  casting  of  a  special  font.  Methods 
of  reproducing  illustrations  have  changed  also. 
Engravings  done  on  wood  are  now  scarce;  they 
are  rare  because  costly.  Reproductions  by  pho- 
tographic processes  have  displaced  them.  Now- 
adays the  "  demon  "  of  speed  has  invaded  the 
domains  of  pictorial  journalism,  so  that  a  photo- 
graph, fresh  from  the  film,  can  be  turned  into  a 
halftone  cut  within  five  hours.  Thus  is  the  pub- 
lic taste  catered  for,  and  the  picture  that  formerly 
was  cut  into  wood  with  painstaking  care  in  five 


The  Preparation  of  Manuscripts   101 

days  is  now  engraved  by  mechanical  means  in  as 
many  hours. 

AS   TO  THE  CHOICE   OF   BOOKBINDINGS 

In  bookbinding,  authors  are  prone  to  suggest 
covers  or  cover=designs  for  their  books  which  are 
either  inartistic  or  inadvisable,  because  based  on 
esthetic  tastes  or  lack  of  knowledge  of  the  limits 
of  brass=cutting,  die=stamping,  or  bookbinding. 
The  selection  of  material  for  binding,  of  cover 
designs,  or  of  colors,  is,  as  a  rule,  a  matter  better 
left  to  the  judgment  of  the  publisher  than  trusted 
to  the  whims  of  an  author.  Binding  is  a  me- 
chanical process  with  which  publishers  are  better 
equipped  to  deal  than  authors,  for  it  is  the  pub- 
lisher's business  to  know  how  to  make  a  book, 
and  this  the  reputable  publisher  certainly  does 
know.  The  relative  value  of  material  used  for 
binding,  from  the  least  desirable  to  the  most  serv- 
iceable, is  as  follows:  (i)  paper;  (2)  paper = 
boards  ;  (3)  buckram  ;  (4)  cloth  ;  (5)  skiver  ; 
(6)  roan;  (7)  calf;  (8)  Russia;  (9)  Turkey 
morocco  ;  (10)  levant  morocco  ;  (n)  parchment ; 
(12)  vellum. 

Writers  in  general  should  remember  that 
their  books  must  be  made  to  sell,  and  to  sell  they 
must  be  able  to  withstand  a  certain  amount  of 
wear  and  tear.  If  they  be  bound  in  delicate  col- 


102   The  Preparation  of  Manuscripts 

ors,  and  remain  exposed  for  sale  for  only  a  few 
weeks  on  the  shelves  in  some  bookstore,  the  color 
will  fade,  and  the  book,  to  all  intents  and  pur- 
poses, becomes  secondhand  almost  immediately 
after  its  publication.  Then,  like  any  soiled  or 
shop=worn  goods  in  a  dry=goods  store,  the  price 
will  be  marked  down,  and  the  author  may  expe- 
rience the  mortification  of  seeing  his  new  work 
offered  for  sale  at  a  price  so  absurdly  low  as  to 
cause  him  to  wish  he  had  never  written  it.  In 
all  such  matters  as  this  the  author  should  trust 
to  the  superior  knowledge  of  trade  conditions 
which  his  publisher  must  have,  for  it  is  an  im- 
portant factor  in  the  issuing  and  marketing  of 
books — a  knowledge  which  is  invariably  the 
mainstay  of  a  publishing  house. 


XVI 

HOW  TO  SECURE  A  COPYRIGHT 

THK  copyright  of  a  book  can  be  secured  by 
the  author  or  by  his  publisher.  This  may  be 
done  in  the  United  States  by  applying  to  the 
Register  of  Copyrights,  Copyright  Office,  Wash- 
ington, D.  C.,  for  forms,  which  must  be  filled  in 
and  returned  to  Washington  for  filing  before 
copyright  papers  are  issued. 

The  following  are  the  chief  provisions  of  the 
Copyright  Law  of  the  United  States,  as  abstracted 
from  the  Act  which  went  into  effect  July  i,  1909: 

Exclusive  Rights. — SEC.  i.  Any  person  entitled 
thereto,  upon  complying  with  the  provisions  of  this 
Act,  shall  have  the  exclusive  right: 

(a)  To  print,  reprint,  publish,  copy,  and  vend  the 
copyrighted  work; 

(b)  To  translate  the  copyrighted  work  into  other 
languages    or    dialects,    or   make   any    other   version 
thereof,  if  it  be  a  literary  work;  to  dramatize  it  if 
it    be    a    nondramatic    work;    to    convert    it    into    a 
novel  or  other  nondramatic  work  if  it  be  a  drama; 
to  arrange  or  adapt  it  if  it  be  a  musical  work;   to 
complete,  execute,  and  finish  it  if  it  be  a  model  or 
design  for  a  work  of  art; 

(c)  To    deliver   or   authorize    the    delivery   of   the 
copyrighted  work  in  public  for  profit  if  it  be  a  lec- 
ture, sermon,  address,  or  similar  production; 

103 


104     The  Preparation  of  Manuscripts 

(d)  To  perform  or  represent  the  copyrighted  work 
publicly  if  it  be  a  drama  or,  if  it  be  a  dramatic  work 
and  not  reproduced  in  copies  for  sale,  to  vend  any 
manuscript    or    any    record    whatsoever    thereof;    to 
make  or  to  procure  the  making  of  any  transcription 
or  record  thereof  by  or  from  which,  in  whole  or  in 
part,   it  may  in  any  manner  or  by  any  method  be 
exhibited,   performed,   represented,   produced,  or  re- 
produced;   and  to   exhibit,   perform,   represent,   pro- 
duce,   or    reproduce    it    in    any    manner    or    by    any 
method  whatsoever; 

(e)  To  perform  the  copyrighted  work  publicly  for 
profit  if  it  be  a  musical  composition  and  for  the  pur- 
pose  of  public  performance   for   profit;   and  for  the 
purposes  set  forth  in  subsection  (a)  hereof,  to  make 
any  arrangement  or  setting  ofxit  or  of  the  melody  of 
it  in  any  system  of  notation  or  any  form  of  record 
in  which  the  thought  of  an  author  may  be  recorded 
and    from    which    it    may    be    read    or    reproduced: 
Provided,  That  the  provisions  of  this  Act,  so  far  as 
they  secure  copyright  controlling  the  parts  of  instru- 
ments serving  to  reproduce  mechanically  the  musical 
work,  shall  include  only  compositions  published  and 
copyrighted  after  this  Act  goes  into  effect,  and  shall 
not  include  the  works  of  a  foreign  author  or  com- 
poser unless   the   foreign   state   or   nation   of  which 
such    author    or    composer    is    a    citizen    or    subject 
grants,   either  by  treaty,   convention,  agreement,  or 
law,  to  citizens  of  the  United  States  similar  rights. 

The  remainder  of  the  section  treats  of  provi- 
sions governing  mechanical  reproduction  of  mu- 
sical compositions  and  the  penalties  incurred  by 
failure  to  observe  them. 

SEC.  2.  Nothing  in  this  Act  shall  be  construed  to 
annul  or  limit  the  right  of  the  author  or  proprietor 
of  an  unpublished  work,  at  common  law  or  in  equity, 
to  prevent  the  copying,  publication,  or  use  of  such 


The  Preparation  of  Manuscripts     105 

unpublished  work  without  his  consent,  and  to  obtain 
damages  therefor. 

SEC.  3.  The  copyright  provided  by  this  Act  shall 
protect  all  the  copyrightable  component  parts  of  the 
work  copyrighted,  and  all  matter  therein  in  which 
copyright  is  already  subsisting,  but  without  extend- 
ing the  duration  or  scope  of  such  copyright.  The 
copyright  upon  composite  works  or  periodicals  shall 
give  to  the  proprietor  thereof  all  the  rights  in  re- 
spect thereto  which  he  would  have  if  each  part  were 
individually  copyrighted  under  this  Act. 

SEC.  4.  The  works  for  which  copyright  may  be 
secured  under  this  Act  shall  include  all  the  writings 
of  an  author. 

Classification  of  Copyright  Works. — SEC.  5.  The 
application  for  registration  shall  specify  to  which 
of  the  following  classes  the  work  in  which  copyright 
is  claimed  belongs: 

(a)  Books,    including    composite    and    cyclopaedic 
works,    directories,    gazetteers,    and    other    compila- 
tions; 

(b)  Periodicals,  including  newspapers; 

(c)  Lectures,  sermons,  addresses,  prepared  for  oral 
delivery; 

(d)  Dramatic  or  dramatico-musical  compositions; 

(e)  Musical  compositions; 

(f)  Maps; 

(g)  Works   of  art;   models   or   designs   for  works 
of  art; 

(h)   Reproductions  of  a  work  of  art; 

(i)  Drawings  or  plastic  works  of  a  scientific  or 
technical  character; 

(j)   Photographs; 

(k)   Prints  and  pictorial  illustrations: 

Provided,  nevertheless,  That  the  above  specifica- 
tions shall  not  be  held  to  limit  the  subject-matter 
of  copyright  as  defined  in  section  four  of  this  Act, 
nor  shall  any  error  in  classification  invalidate  or  im- 
pair the  copyright  protection  secured  under  this  Act. 

SEC.  6.  Compilations  or  abridgments,  adaptations, 
arrangements,  dramatizations,  translations,  or  other 


106     The   Preparation  of  Manuscripts 

versions  of  works  in  the  public  domain,  or  of  copy- 
righted works  when  produced  with  the  consent  of 
the  proprietor  of  the  copyright  in  such  work,  or 
works  republished  with  new  matter,  shall  be  re- 
garded as  new  works  subject  to  copyright  under  the 
provisions  of  this  Act;  but  the  publication  of  any 
such  new  works  shall  not  affect  the  force  or  validity 
of  any  subsisting  copyright  upon  the  matter  em- 
ployed or  any  part  thereof,  or  be  construed  to  imply 
an  exclusive  right  to  such  use  of  the  original  works, 
or  to  secure  or  extend  copyright  in  such  original 
works. 

SEC.  7.  No  copyright  shall  subsist  in  the  original 
text  of  any  work  which  is  in  the  public  domain,  or 
in  any  work  which  was  published  in  this  country  or 
any  foreign  country  prior  to  the  going  into  effect  of 
this  Act  and  has  not  been  already  copyrighted  in 
the  United  States,  or  in  any  publication  of  the 
United  States  Government,  or  any  reprint,  in  whole 
or  in  part,  thereof:  Provided,  however,  That  the  pub- 
lication or  republication  by  the  Government,  either 
separately  or  in  a  public  document,  of  any  material 
in  which  copyright  is  subsisting  shall  not  be  taken 
to  cause  any  abridgment  or  annulment  of  the  copy- 
right or  to  authorize  any  use  or  appropriation  of 
such  copyright  material  without  the  consent  of  the 
copyright  proprietor. 

SEC.  8.  The  author  or  proprietor  of  any  work  made 
the  subject  of  copyright  by  this  Act,  or  his  execu- 
tors, administrators,  or  assigns,  shall  have  copy- 
right for  such  work  under  the  conditions  and  for  the 
terms  specified  in  this  Act:  Provided,  however,  That 
the  copyright  secured  by  this  Act  shall  extend  to 
the  work  of  an  author  or  proprietor  who  is  a  citizen 
or  subject  of  a  foreign  state  or  nation,  only: 

(a)  When  an  alien  author  or  proprietor  shall  be 
domiciled  within  the  United   States   at  the  time  of 
the  first  publication  of  his  work;  or 

(b)  When   the   foreign   state   or   nation   of   which 
such    author   or   proprietor   is    a    citizen    or    subject 
grants,   either  by  treaty,  convention,  agreement,  or 


The  Preparation  of  Manuscripts     107 

law,  to  citizens  of  the  United  States  the  benefit  of 
copyright  on  substantially  the  same  basis  as  to  its 
own  citizens,  or  copyright  protection  substantially 
equal  to  the  protection  secured  to  such  foreign 
author  under  this  Act  or  by  treaty;  or  when  such 
foreign  state  or  nation  is  a  party  to  an  international 
agreement  which  provides  for  reciprocity  in  the 
granting  of  copyright,  by  the  terms  of  which  agree- 
ment the  United  States  may,  at  its  pleasure,  become 
a  party  thereto. 

The  existence  of  the  reciprocal  conditions  afore- 
said shall  be  determined  by  the  President  of  the 
United  States,  by  proclamation  made  from  time  to 
time,  as  the  purposes  of  this  Act  may  require. 

SEC.  9.  Any  person  entitled  thereto  by  this  Act 
may  secure  copyright  for  his  work  by  publication 
thereof  with  the  notice  of  copyright  required  by  this 
Act;  and  such  notice  shall  be  affixed  to  each  copy 
thereof  published  or  offered  for  sale  in  the  United 
States  by  authority  of  the  copyright  proprietor,  ex- 
cept in  the  case  of  books  seeking  ad  interim  pro- 
tection under  section  twenty-one  of  this  Act. 

SEC.  10.  Such  person  may  obtain  registration  of 
his  claim  to  copyright  by  complying  with  the  provi- 
sions of  this  Act,  including  the  deposit  of  copies, 
and  upon  such  compliance  the  Register  of  Copyrights 
shall  issue  to  him  the  certificate  provided  for  in  sec- 
tion fifty-five  of  this  Act. 

SEC.  ii.  Copyright  may  also  be  had  of  the  works 
of  an  author  of  which  copies  are  not  reproduced  for 
sale,  by  the  deposit,  with  claim  of  copyright,  of  one 
complete  copy  of  such  work  if  it  be  a  lecture  or 
similar  production  or  a  dramatic  or  musical  compo- 
sition; of  a  photographic  print  if  the  work  be  a 
photograph;  or  of  a  photograph  or  other  identifying 
reproduction  thereof  if  it  be  a  work  of  art  or  a 
plastic  work  or  drawing.  But  the  privilege  of  regis- 
tration of  copyright  secured  hereunder  shall  not 
exernjpt  the  copyright  proprietor  from  the  deposit 
of  copies  under  sections  twelve  and  thirteen  of  this 


108      The  Preparation  of  Manuscripts 

Act  where  the  work  is  later  reproduced  in  copies  for 
sale. 

SEC.  12.  After  copyright  has  been  secured  by  pub- 
lication of  the  work  with  the  notice  of  copyright  as 
provided  in  section  nine  of  this  Act,  there  shall  be 
promptly  deposited  in  the  copyright  office  or  in 
the  mail  addressed  to  the  Register  of  Copyrights, 
Washington,  District  of  Columbia,  two  complete 
copies  of  the  best  edition  thereof  then  published, 
which  copies,  if  the  work  be  a  book  or  periodical, 
shall  have  been  produced  in  accordance  with  the 
manufacturing  provisions  specified  in  section  fifteen 
of  this  Act;  or  if  such  work  be  a  contribution  to  a 
periodical,  for  which  contribution  special  registra- 
tion is  requested,  one  copy  of  the  issue  or  issues 
containing  such  contribution;  or  if  the  work  is  not 
reproduced  in  copies  for  sale,  there  shall  be  depos- 
ited the  copy,  print,  photograph,  or  other  identify- 
ing reproduction  provided  by-  section  eleven  of  this 
Act,  such  copies  or  copy,  print,  photograph,  or  other 
reproduction  to  be  accompanied  in  each  case  by  a 
claim  of  copyright.  No  action  or  proceeding  shall 
be  maintained  for  infringement  of  copyright  in  any 
work  until  the  provisions  of  this  Act  with  respect 
to  the  deposit  of  copies  and  registration  of  such 
work  shall  have  been  complied  with. 

SEC.  13.  Should  the  copies  called  for  by  section 
twelve  of  this  Act  not  be  promptly  deposited  as 
herein  provided,  the  Register  of  Copyrights  may  at 
any  time  after  the  publication  of  the  work,  upon 
actual  notice,  require  the  proprietor  of  the  copyright 
to  deposit  them,  and  after  the  said  demand  shall 
have  been  made,  in  default  of  the  deposit  of  copies 
of  the  work  within  three  months  from  any  part  of 
the  United  States,  except  ail  outlying  territorial  pos- 
session of  the  United  States,  or  within  six  months 
from  any  outlying  territorial  possession  of  the 
United  States,  or  from  any  foreign  country,  the  pro- 
prietor of  the  copyright  shall  be  liable  to  a  fine  of 
one  hundred  dollars  and  to  pay  to  the  Library  of 
Congress  twice  the  amount  of  the  retail  price  of  the 


The  Preparation  of  Manuscripts      109 

best  edition  of  the  work,  and  the  copyright  shall 
become  void. 

SEC.  14.  The  postmaster  to  whom  are  delivered 
the  articles  deposited  as  provided  in  sections  eleven 
and  twelve  of  this  Act  shall,  if  requested,  give  a 
receipt  therefor  and  shall  mail  them  to  their  destina- 
tion without  cost  to  the  copyright  claimant. 

SEC.  15.  Of  the  printed  book  or  periodical  speci- 
fied in  section  five,  subsections  (a)  and  (b)  of  this 
Act,  except  the  original  text  of  a  book  of  foreign 
origin  in  a  language  or  languages  other  than  Eng- 
lish, the  text  of  all  copies  accorded  protection  under 
this  Act,  except  as  below  provided,  shall  be  printed 
from  type  set  within  the  limits  of  the  United  States, 
cither  by  hand  or  by  the  aid  of  any  kind  of  typesetting 
machine,  or  from  plates  made  within  the  limits  of  the 
United  States  from  type  set  therein,  or,  if  the  text  be 
produced  by  lithographic  process,  or  photo-engra- 
ving process,  then  by  a  process  wholly  performed 
within  the  limits  of  the  United  States,  and  the  printing 
of  the  te'xt  and  binding  of  the  said  book  shall  be  per- 
formed within  the  limits  of  the  United  States;  which  re- 
quire ments  shall  extend  also  to  the  illustrations  within  a 
book  consisting  of  printed  text  and  illustrations  pro- 
duced by  lithographic  process,  or  photo-engraving  proc- 
ess, and  also  to  separate  lithographs  or  photo-engra- 
vings, except  where  in  either  case  the  subjects  repre- 
sented are  located  in  a  foreign  country  and  illustrate  a 
scientific  work  or  reproduce  a  work  of  art;  but  they 
shall  not  apply  to  works  in  raised  characters  for  the 
use  of  the  blind,  or  to  books  of  foreign  origin  in  a 
language  or  languages  other  than  English,  or  to 
books  published  abroad  in  the  English  language 
seeking  ad  interim  protection  under  this  Act. 

SEC.  16.  In  the  case  of  the  book  the  copies  so  de- 
posited shall  be  accompanied  by  an  affidavit,  under 
the  official  seal  of  any  officer  authorized  to  adminis- 
ter oaths  within  the  United  States,  duly  made  by  the 
person  claiming  copyright  or  by  his  duly  authorized 
agent  or  representative  residing  in  the  United  States, 
or  by  the  printer  who  has  printed  the  book,  setting 


110     The  Preparation  of  Manuscripts 

forth  that  the  copies  deposited  have  been  printed 
from  type  set  within  the  limits  of  the  United  States 
or  from  plates  made  within  the  limits  of  the  United 
States  from  type  set  therein;  or,  if  the  text  be  pro- 
duced by  lithographic  process,  or  photo-engraving 
process,  that  such  process  was  wholly  performed 
within  the  limits  of  the  United  States,  and  that  the 
printing  of  the  text  and  binding  of  the  said  book 
have  also  been  performed  within  the  limits  of  the 
United  States.  Such  affidavit  shall  state  also  the 
place  where  and  the  establishment  or  establishments 
in  which  such  type  was  set  or  plates  were  made  or 
lithographic  process,  or  photo-engraving  process  or 
printing  and  binding  were  performed  and  the  date 
of  the  completion  of  the  printing  of  the  book  or  the 
date  of  publication. 

SEC.  17.  Any  person  who,  for  the  purpose  of  ob- 
taining registration  of  a  claim  to  copyright,  shall 
knowingly  make  a  false  affidavit  as  to  his  having 
complied  with  the  above  conditions  shall  be  deemed 
guilty  of  a  misdemeanor,  and  upon  conviction  there- 
of shall  be  punished  by  a  fine  of  not  more  than  one 
thousand  dollars,  and  all  of  his  rights  and  privileges 
under  said  copyright  shall  thereafter  be  forfeited. 

SEC.  18.  The  notice  of  copyright  required  by  sec- 
tion nine  of  this  Act  shall  consist  either  of  the 
word  "Copyright"  or  the  abbreviation  "Copr.",  ac- 
companied by  the  name  of  the  copyright  proprietor, 
and  if  the  work  be  a  printed  literary,  musical,  or 
dramatic  work,  the  notice  shall  include  also  the  year 
in  which  the  copyright  was  secured  by  publication. 
In  the  case,  however,  of  copies  of  works  specified 
in  subsections  (f)  to  (k),  inclusive,  of  section  five 
of  this  Act,  the  notice  may  consist  of  the  Letter 
C  inclosed  within  a  circle,  thus:  (g) ,  accompanied 
by  the  initials,  monogram,  mark,  or  symbol  of  the 
copyright  proprietor:  Provided,  That  on  some  acces- 
sible portion  of  such  copies  or  of  the  margin,  back, 
permanent  base,  or  pedestal,  or  of  the  substance  on 
which  such  copies  shall  be  mounted,  his  name  shall 
appear.  But  in  the  case  of  works  in  which  copyright 


The  Preparation  of  Manuscripts     ill 

is  subsisting  when  this  Act  shall  go  into  effect,  the 
notice  of  copyright  may  be  either  in  one  of  the 
forms  prescribed  herein  or  in  one  of  those  pre- 
scribed by  the  Act  of  June  eighteenth,  eighteen  hun- 
dred and  seventy-four. 

SEC.  19.  The  notice  of  copyright  shall  be  applied, 
in  the  case  of  a  book  or  other  printed  publication, 
upon  its  title-page  or  the  page  immediately  follow- 
ing, or  if  a  periodical  either  upon  the  title-page  or 
upon  the  first  page  of  text  of  each  separate  num-  . 
ber  or  under  the  title  heading,  or  if  a  musical  work 
either  upon  its  title-page  or  the  first  page  of  music :  Pro- 
vided, That  one  notice  of  copyright  in  each  volume 
or  in  each  number  of  a  newspaper  or  periodical  pub- 
lished shall  suffice. 

SEC.  20.  Where  the  copyright  proprietor  has  sought 
to  comply  with  the  provisions  of  this  Act  with  re- 
spect to  notice,  the  omission  by  accident  or  mistake 
of  the  prescribed  notice  from  a  particular  copy  or 
copies  shall  not  invalidate  the  copyright  or  prevent 
recovery  for  infringement  against  any  person  who, 
after  actual  notice  of  the  copyright,  begins  an  un- 
dertaking to  infringe  it,  but  shall  prevent  the  recov- 
ery of  damages  against  an  innocent  infringer  who 
has  been  misled  by  the  omission  of  the  notice;  and 
in  a  suit  for  infringement  no  permanent  injunction 
shall  be  had  unless  the  copyright  proprietor  shall 
reimburse  to  the  innocent  infringer  his  reasonable 
outlay  innocently  incurred  if  the  court,  in  its  discre- 
tion, shall  so  direct. 

SEC.  21.  In  the  case  of  a  book  published  abroad 
in  the  English  language  before  publication  in  this 
country,  the  deposit  in  the  copyright  office,  not  later 
than  thirty  days  after  its  publication  abroad,  of 
one  complete  copy  of  the  foreign  edition,  with  a  re- 
quest for  the  reservation  of  the  copyright  and  a 
statement  of  the  name  and  nationality  of  the  author 
and  of  the  copyright  proprietor  and  of  the  date  of 
publication  of  the  said  book,  shall  secure  to  the 
author  or  proprietor  an  ad  interim  copyright,  which 
shall  have  all  the  force  and  effect  given  to  copyright 


112     The  Preparation  of  Manuscripts 

by  this  Act,  and  shall  endure  until  the  expiration  of 
thirty  days  after  such  deposit  in  the  copyright  office. 

SEC.  22.  Whenever  within  the  period  of  such  ad 
interim  protection  an  authorized  edition  of  such 
book  shall  be  published  within  the  United  States,  in 
accordance  with  the  manufacturing  provisions  speci- 
fied in  section  fifteen  of  this  Act,  and  whenever  the 
provisions  of  this  Act  as  to  deposit  of  copies,  regis- 
tration, filing  of  affidavit,  and  the  printing  of  the 
copyright  notice  shall  have  been  duly  complied  with, 
the  copyright  shall  be  extended  to  endure  in  such 
book  for  the  full  term  elsewhere  provided  in  this 
Act. 

SEC.  23.  The  copyright  secured  by  this  Act  shall 
endure  for  twenty-eight  years  from  the  date  of  first 
publication,  whether  the  copyrighted  work  bears  the 
author's  true  name  or  is  published  anonymously  or 
under  an  assumed  name:  Provided,  That  in  the  case 
of  any  posthumous  work  or  of  any  periodical,  cyclo- 
paedic, or  other  composite  work  upon  which  the 
copyright  was  originally  secured  by  the  proprietor 
thereof,  or  of  any  work  copyrighted  by  a  corporate 
body  (otherwise  than  as  assignee  or  licensee  of  the 
individual  author),  or  by  an  employer  for  whom  such 
work  is  made  for  hire,  the  proprietor  of  such  copy- 
right shall  be  entitled  to  a  renewal  and  extension 
of  the  copyright  in  such  work  for  the  further  term 
of  twenty-eight  years  when  application  for  such  re- 
newal and  extension  shall  have  been  made  to  the 
copyright  office  and  duly  registered  therein  within 
one  year  prior  to  the  expiration  of  the  original  term 
of  copyright:  And  provided  further,  That  in  the  case 
of  any  other  copyrighted  work,  including  a  contri- 
bution by  an  individual  author  to  a  periodical  or  to 
a  cyclopaedic  or  other  composite  work  when  such 
contribution  has  been  separately  registered,  the 
author  of  such  work,  if  still  living,  or  the  widow, 
widower,  or  children  of  the  author,  if  the  author  be 
not  living,  or  if  such  author,  widow,  widower,  or 
children  be  not  living,  then  the  author's  executors, 
or  in  the  absence  of  a  will,  his  next  of  kin  shall  be 


The  Preparation  of  Manuscripts    H2a 

entitled  to  a  renewal  and  extension  of  the  copyright 
in  such  work  for  a  further  term  of  twenty-eight 
years  when  application  for  such  renewal  and  exten- 
sion shall  have  been  made  to  the  copyright  office 
and  duly  registered  therein  within  one  year  prior  to 
the  expiration  of  the  original  term  of  copyright: 
And  provided  further,  That  in  default  of  the  registra- 
tion of  such  application  for  renewal  and  extension, 
the  copyright  in  any  work  shall  determine  at  the 
expiration  of  twenty-eight  years  from  first  publi- 
cation. 

SEC.  24.  The  copyright  subsisting  in  any  work  at 
the  time  when  this  Act  goes  into  effect  may,  at  the 
expiration  of  the  term  provided  for  under  existing 
law,  be  renewed  and  extended  by  the  author  of  such 
work  if  still  living,  or  the  widow,  widower,  or  chil- 
dren of  the  author,  if  the  author  be  not  living,  or  if 
such  author,  widow,  widower,  or  children  be  not 
living,  then  by  the  author's  executors,  or  in  the 
absence  of  a  will,  his  next  of  kin,  for  a  further  period 
such  that  the  entire  term  shall  be  equal  to  that  se- 
cured by  this  Act,  including  the  renewal  period: 
Provided,  however,  That  if  the  work  be  a  composite 
work  upon  which  copyright  was  originally  secured 
by  the  proprietor  thereof,  then  such  proprietor  shall 
be  entitled  to  the  privilege  of  renewal  and  extension 
granted  under  this  section:  Provided,  That  applica- 
tion for  such  renewal  and  extension  shall  be  made 
to  the  copyright  office  and  duly  registered  therein 
within  one  year  prior  to  the  expiration  of  the  exist- 
ing term. 

The  remaining  Sections  from  25  to  64  treat  of 
the  issuance  of  certificates  of  copyright;  the  pen- 
alties for  infringement  of  copyright  (setting  the 
minimum  penalty  that  may  be  recovered  by  action 
at  law  at  $250  and  the  maximum  at  $5,000),  and 
provide  for  the  proper  administration  of  the  law. 


112b    The  Preparation  of  Manuscripts 

In  Great  Britain  copyright  is  secured  by  first 
publication  there  of  the  work  for  which  copy- 
right is  desired.  If  the  work  be  that  of  a  foreign 
author  it  "shall  be  deemed  to  be  published  sim- 
ultaneously in  two  places  if  the  time  between  the 
publication  in  one  such  place  and  the  publica- 
tion in  the  other  place  does  not  exceed  fourteen 
days,  or  such  longer  period  as  may,  for  the  time 
being,  be  fixed  by  Order  in  Council" — that  is,  by 
order  of  the  reigning  sovereign  under  the  advice 
of  the  Privy  Council. 

Publication  is  effected  by  the  free  delivery  of  six 
copies  of  the  work  for  which  copyright  is  desired  to 
the  great  public  libraries:  (1)  the  British  Museum; 
(2)  the  Bodleian  Library,  Oxford;  (3)  Cambridge 
University  Library;  (4)  the  Advocates'  Library,  at 
Edinburgh;  (5)  the  Library  of  Trinity  College,  Dub- 
lin; (6)  the  National  Library  of  Wales. 

The  duration  of  the  copyright  is  for  the  life  of  the 
author  and  fifty  years  after  his  death.  But  after  the 
expiration  of  twenty-five  years  from  the  death  of  the 
author  a  printed  work  may  be  reprinted,  provided 
that  any  person  desiring  to  reprint  it  gives  due  no- 
tice to  the  owner  of  the  copyright  and  pays  him  ten 
per  cent,  on  the  price  at  which  the  work  is  published. 

Works  published  in  the  British  colonies  enjoy  the 
same  protection  as  those  published  in  Great  Britain. 
But  self-governing  dominions  have  the  right  to  pass 
laws  of  their  own  to  regulate  copyright,  and  an  au- 
thor of  foreign  birth  who  desires  to  secure  copy- 
right protection  in  any  self-governing  dominion  or 
colony  should  address  the  Secretary  of  State  for 
information  concerning  the  status  of  the  law  before 
taking  any  other  action. 


XVII 

GLOSSARY   OF  TECHNICAL  TERMS  USED 
IN   PRINTING   AND  BINDING 

advance-sheets.  Sheets,  as  of  a  book  or  magazine, 
sent  out,  as  to  the  press,  before  formal  publication. 

ascending  letter.  A  letter  some  part  of  which  ascends 
upon  the  upper  shoulder  of  the  type^body,  or  above 
the  short  letters — as,  d,  A,  which  ascend  above 
«,  e,  etc. 

author's  proof.  A  clean  proof  for  revision  by  an 
author,  or  a  proof  returned  with  corrections  by  him. 

band.  A  flat,  flexible  strip  of  material  used  for  binding, 
as  of  leather,  rubber,  cloth,  paper,  etc. 

bank,  (i)  The  track  on  which  the  carriage  of  a  printing- 
press  moves.  (2)  A  pressman's  table  for  holding 
sheets.  (3)  A  frame  for  holding  type=filled  galleys, 
standing  or  dead  matter,  etc. 

bastard  title.  A  page  on  which  a  short  title  is  usually 
printed.  Used  sometimes  to  precede  the  regular 
full  title=page  of  a  book. 

bastard  type.  A  type  having  a  face  smaller  or  larger 
than  its  proper  body — as,  long=primer  face  on  small= 
pica  body,  or  vice  versa. 

batter.  A  breakage  or  marring  of  type  or  of  a  plate  so 
that  it  prints  imperfectly. 

beard.  Formerly,  the  slope  of  a  printing*type  from  the 
face  to  the  shoulder,  now  cast  nearly  straight  ; 

113 


114   The  Preparation  of  Manuscripts 

also,  in  some  ornamental  type=faces,  the  outside 
shading. 

bearer,  (i)  A  strip  of  metal  or  wood  locked  in  a  form, 
or  constituting  part  of  the  bed  of  a  press:  used  to 
bear  off  the  impression  from  the  form.  (2)  A  type 
or  type=high  strip  or  piece  of  metal  used  in  blank 
spaces  in  matter  that  is  to  be  cast,  to  furnish  a  sup- 
port in  shaving  the  plate.  Called  also  guard. 

bearer=line.  A  dummy  line,  as  of  bearers,  inserted  to 
fill  a  blank  space. 

bed.  The  part  of  a  printing-press  which  supports  the 
form,  or  a  part  from  which  work  is  fed  to  a  machine. 

bevel.  A  bevel=edged  slug,  nearly  type=high,  used  by 
stereotypers  to  form  the  side  flange  of  a  plate. 

binder's=title.     The  title  lettered  on  the  back  of  a  book. 

bite.  A  white  spot  in  an  impression  caused  by  some- 
thing projecting  between  the  type  or  plate  and  the 
paper. 

blank  line.     A  line  of  quadrats;  a  vacant  or  breadline. 

blanket.  A  smooth  web  or  sheet  of  felt,  india=rubber, 
or  other  material,  covering  an  impression=surface  in 
order  to  give  a  smooth  surface  not  hard  enough  to 
damage  the  type  or  plates. 

bleed.  To  cut  into  the  printed  part  of  a  book  in  trim- 
ming. 

blind-tooling.  In  bookbinding,  ornament  impressed  by 
heated  tools. 

block.  A  hard  wood  compound  base  on  which  thin 
printing^plates  (as  of  illustrations)  are  field  by 
clamps  or  nails  for  printing. 

board,  (i)  A  flat  wooden  slab  used  in  bookbinding,  as 
for  burnishing,  gilding,  etc.  (2)  A  pasteboard  side 
for  a  book  cover,  especially  when  paper  covered: 
used  usually  in  the  plural. 


The  Preparation  of  Manuscripts   115 

body.  The  size  or  depth  of  type  as  distinguished  from 
its  face  or  style. 

bold-face.     Same  as  FULL=FACE. 

book-clamp,  (i)  A  parallel  vise  for  holding  books  in 
process  of  binding.  (2)  A  device  for  holding  a 
number  of  books  together  tightly  and  carrying 
them. 

book  plate,  (i)  An  electrotype  or  stereotype  of  a  page 
of  a  book.  (2)  An  engraved  label  placed  in  a  book 
to  indicate  ownership. 

book-stamp.  A  stamp  designed  for  embossing  book 
covers. 

boss.  One  of  a  number  of  projecting  pieces  of  metal, 
usually  ornamental,  placed  on  the  side  of  a  book,  to 
protect  it  from  wear. 

box.     See  CASE. 

brayer.  A  roller  mounted  for  use  by  hand  as  distin- 
guished from  one  to  be  used  on  a  press. 

break=line.  The  last  line  of  a  paragraph  when  contain- 
ing blank  space. 

broadside.  A  large  sheet  of  paper,  having  a  ballad, 
squib,  personal  statement,  or  other  matter  printed 
on  one  side;  a  broad  sheet. 

bronzing.  A  process  in  printing  in  which  sizing  and 
bronze  powder  are  used  instead  of  printer's  ink. 

burr.  A  roughness  or  rough  edge,  especially  one  left 
on  metal  in  cutting,  casting,  or  subjecting  it  to  other 
mechanical  process;  as,  a  burr  on  a  plate. 

cabinet.  An  enclosed  rack  or  receptacle  with  small 
cases  or  drawers  for  display=type,  cuts,  etc. 

cancel,  (i)  The  striking  or  cutting  out,  omission,  or 
suppression  of  a  leaf,  leaves,  or  any  part  of  any 
printed  matter  or  work.  (2)  One  or  more  leaves 
cut  out,  or  a  leaf  or  leaves  to  be  substituted  for 


116   The  Preparation  of  Manuscripts 

those  cut  out.  (3)  Any  printed  matter  substituted 
for  that  stricken  out. 

canceled  type.  A  type  the  face  of  which  is  cast  with  a 
line  across  it,  as  some  figures  in  mathematical 
works,  or  some  silent  letters  in  school=books. 

cap.  (i)  In  printing,  a  capital  letter.  (2)  In  bookbind- 
ing, the  covering  of  the  head-band  or  the  envelope  of 
a  book  while  being  bound. 

cap  case.     See  CASE. 

card.  To  insert  strips  of  card  between  words,  letters,  or 
lines,  instead  of  using  hair=spaces  or  leads:  done  in 
reference  books  where  it  is  necessary  to  save  space. 

caret.  A  sign  (A)  placed  below  a  line,  indicating  where 
omitted  words,  letters,  etc.  should  be  inserted: 
sometimes  inverted  (V)  and  above  the  line. 

case.  A  wooden  tray  divided  into  compartments  called 
boxes  for  keeping  separate  the  letters  of  a  font  of 
type.  Cases  for  body=type  are  made  in  pairs,  called 
upper  (or  cap)  case  and  lower  case  respectively. 
Other  cases  are  named  from  their  use — as,  music- 
case  (for  music=type),  rule-case  (for  brass  rules), 
job-case  (for  display=type  used  in  job=work). 

cast  off.     To  estimate  any  type=space. 

casting=box.  In  stereotyping,  a  cast=iron  box  in  which 
casts  are  made. 

catch=line.  A  short  line  in  small  type  between  two 
larger  display=type  lines. 

catch=word.  (i)  A  word  so  placed  as  to  catch  the  atten- 
tion; specifically,  an  isolated  word  or  words  at  the 
top  of  the  page  of  a  reference  book,  as  a  dictionary: 
inserted  as  a  guide  to  the  words  treated  on  the 
page.  (2)  Formerly,  a  word  at  the  bottom  of  a 
page  inserted  to  connect  the  text  with  the  beginning 
of  the  next  page. 


The  Preparation  of  Manuscripts  in 

catch-word  entry.  The  registry  of  a  book  in  a  catalog 
by  some  word  in  the  title  likely  to  be  easily  re- 
membered. 

ceriph.  A  hair=line;  a  light  line  or  stroke  crossing  or 
projecting  from  the  end  of  a  main  line  or  stroke  in 
a  letter,  as  at  the  top  and  bottom  of  the  letter  M. 
Gothic  letters  (M)  have  no  ceriphs. 

chapel,  (i)  The  body  of  journeyman  printers  in  a  given 
office:  usually  organized  under  a  chairman,  known 
in  Great  Britain  as  "  the  father  of  the  chapel."  (2) 
Formerly,  a  printing-house. 

chase.  A  strong  rectangular  iron  frame  into  which  pages 
of  type  are  fastened,  as  for  printing  or  stereotyping. 

clicker.  The  member  of  a  companionship  of  composi- 
tors that  distributes  copy,  makes  up,  etc. 

collate.  To  examine,  as  the  gathered  sheets  of  a  book 
to  be  bound  for  verifying  and  correcting  the  arrange- 
ment. 

colophon.  An  inscription  or  other  device  formerly 
placed  at  the  end  of  books  and  writings,  often  show- 
ing the  title,  the  writer's  or  the  printer's  name,  and 
date  and  place  of  printing. 

column-rule.  A  thin  brass  strip,  type-high,  used  to  mark 
the  divisions  of  columns. 

composing.     The  setting  of  type. 

composing-frame.  A  frame  or  stand  for  holding  type* 
cases  in  a  convenient  position  for  use.  Called  also 
composing*stand. 

composing-room.  The  room  in  a  printing-office  where 
the  type  is  set. 

composing-rule.  A  thin  piece  of  type-high  brass  or 
steel  rule,  cut  to  a  required  measure,  but  with  a 
beak  left  at  one  or  both  of  the  upper  corners  :  used 
in  setting  and  handling  type. 


118    The  Preparation  of  Manuscripts 

composing-stick.  A  tray  or  receptacle  of  metal  or 
wood,  capable  of  adjustment  so  as  to  vary  the 
length  of  a  line  required,  used  by  a  compositor  in 
setting  the  type  that  he  takes  from  the  cases. 

composition.     The  act  or  process  of  setting  type. 

condensed.     Thin  in  comparison  to  height :  said  of  type. 

copy.  Manuscript  or  printed  matter  to  be  set  in  type 
by  a  compositor. 

copy=holder.  A  proof-reader's  assistant,  who  aids  in 
comparing  proof  with  copy  for  the  detection  of 
errors. 

correction,  (i)  The  act  of  correcting  or  setting  right;  the 
noting  or  removing  of  an  error  or  fault;  rectifica- 
tion; emendation.  (2)  That  which  is  substituted  or 
offered  as  an  improvement. 

counter.  That  part  of  the  face  of  a  type  which  is  de- 
pressed  in  giving  the  character  its  form. 

crushed.  Pressed  between  metal  sheets  so  as  to  smooth 
the  surface  of,  and  give  finish  to  coarse-grained 
leather  :  applied  to  books  bound  in  morocco. 

cut.  A  block  upon  which  something  is  engraved,  or  an 
impression  from  it. 

cut-in.  Set  at  the  side  of  a  page  within  the  space  be- 
longing to  the  regular  text  and  displacing  a,  part  of 
the  text,  as  a  note. 

cylinder.  The  rotating  cylindrical  portion  of  a  printing- 
press. 

dabber.     A  printer's  inking»ball  or  pad. 

dead  matter.     See  MATTER. 

deckle-edged.  Having  a  rough  edge  ;  uncut :  said  of 
books. 

dele.  To  take  but:  in  proof-reading,  represented  by  a 
sign  directing  a  compositor  to  take  out  something 
that  has  been  put  in  type.  For  sign,  see  page  61. 


The    Preparation  of  Manuscripts  119 

delete.  To  blot  out;  erase;  cancel;  hence,  to  take  out, 
as  type;  omit,  as  printed  matter:  commonly  short- 
ened to  dele. 

dentelle.  In  bookbinding,  a  style  of  toothlike  or  lace- 
like  decoration:  said  of  borders. 

descending  letter.  A  letter  some  part  of  which  de- 
scends below  the  short  letters — as,  p,  y%  which  de- 
scend below  z,  o,  etc. 

devil.  A  printer's  apprentice:  first  so  called  in  the  days 
of  the  hand=press,  when  he  managed  the  ink=roller 
and  frequently  became  blackened. 

distribution,  (i)  The  act  of  returning  types  from  com- 
posed matter  to  their  proper  boxes  in  the  case.  (2) 
The  even  spreading  of  ink  over  rollers,  inking- 
tables,  or  forms. 

ditto  mark.  A  symbol  in  printing  (  "  )  used  beneath  a 
word  to  indicate  its  repetition. 

dotted  rule.  A  strip  of  type^high  metal,  usually  made 
of  brass,  the  face  of  which  is  raised  in  a  series  of 
points  :  ( — — ). 

double.  To  set  up  matter  a  second  time  by  mistake; 
make  a  doublet. 

double*letter.  Two  or  more  letters  cut  on  one  type- 
body  and  usually  having  the  faces  joined. 

double  rule.  A  type-high  brass  rule,  the  face  of  which 
consists  of  two  parallel  lines,  the  upper  being 
thicker  than  the  lower  (•~s~~*~ssss);  usually  made  in 
one  piece. 

doublet.     A  word  or  words  duplicated  by  mistake. 

drive  out.  To  separate  more  widely,  as  words,  by  the 
use  of  additional  or  wider  spaces.  (See  to  space  out 
under  SPACE.) 

dummy,  (i)  A  printed  proof  mounted  on  paper  for  the 
purpose  of  showing  the  size  of  page  and  its  general 


120   The    Preparation  of  Manuscripts 

appearance  after  printing,  or  of  serving  as  a  guide 
in  making  up  a  page.  (2)  A  sample  book  made 
partly  of  printed  leaves  and  partly  of  blank  paper. 

duodecimo.  A  book=page  or  leaf  of  about  4^  X  7^£ 
inches,  or  a  book  having  pages  of  that  size;  origi- 
nally, a  volume  having  12  leaves  to  the  sheet,  but 
now  one  printed  with  16  leaves  to  the  sheet. 

electrotype,  (i)  A  metallic  copy  (usually  having  a  cop- 
per face)  of  any  surface  made  by  electrodeposition, 
especially  one  of  a  woodcut,  page  of  type,  or  the 
like,  for  printing.  (2)  An  impression  from  an 
electrotyped  cut.  (3)  To  make  an  electrotype  of; 
duplicate  by  electrotyping. 

electrotype=shell.  The  thin  reproduction,  usually  in 
copper,  of  an  engraving,  or  the  like,  in  the  wax 
process,  before  being  filled  or  backed  with  electro- 
type-metal. 

em.  The  square  of  the  body  of  any  size  of  type,  used 
as  a  unit  of  measurement  in  computing  the  cost  of 
composition,  the  wages  of  compositors,  the  size  of 
pages,  etc.,  or  for  indicating  the  size  of  dashes, 
spaces,  etc.  Compare  TYPE=BODY. 

en.  Half  the  square  of  a  type;  half  an  em :  used  to 
measure  the  size  of  a  dash,  quadrat,  etc. 

end=paper.  In  bookbinding,  one  of  the  blank  leaves  at 
the  beginning  and  end  of  a  book. 

extended.   Broad  in  proportion  to  its  height :  said  of  type. 

face.  The  impression^surface  of  a  type  or  printing* 
plate;  also,  the  character  on  type,  or  the  size  or  style 
or  cut  of  the  character  on  type. 

fat.  (i)  Requiring  less  labor  than  usual  to  accomplish 
a  given  result:  said  of  type«=matter,  or  of  the  copy 
for  it,  containing  much  open  space,  which  counts 
the  same  as  if  solidly  filled  with  letters.  (2)  Un- 


The  Preparation  of  Manuscripts   121 

usually  broad  or  expanded  :  said  of  type=bodies. 
Also  used  as  a  noun. 

feed.  To  supply  with  what  is  necessary  for  the  con- 
tinuance or  activity  of,  as  paper  to  a  printing=press. 

feeder.  One  who  or  that  which  supplies  material  to  a 
machine,  as  paper  to  a  printing=press. 

feed-gage.  A  gage  on  a  printing-press  or  folding* 
machine  to  which  the  sheets  are  fed,  and  the  ad- 
justment of  which  determines  the  margins. 

finger.     Same  as  GRIPPER. 

flush.     Set  with  no  indention. 

fly.  (i)  A  long-fingered  frame  oscillating  quickly  upon 
a  horizontal  axis,  taking  the  sheets  of  paper  from 
the  tapes  or  cylinder  of  a  printing=press  and  deliver- 
ing them  flat  upon  a  pile.  (2)  Any  person  or  ap- 
paratus that  takes  sheets  of  paper  from  a  press. 

folio,  (i)  The  number  of  a  page;  in  type^matter  the 
even  folios  are  on  the  left-hand  pages,  and  the  odd 
on  the  right  hand.  (2)  A  book,  periodical,  or  the 
like,  composed  of  sheets  folded  but  once,  and  so 
having  four  pages  to  the  sheet;  hence,  a  book  of 
the  largest  size. 

font.  A  complete  or  sufficient  assortment  of  type  of  a 
particular  nick,  face,  and  body,  the  quantity  of  each 
character  being  in  a  certain  proportion  to  the  rest: 
sometimes  designated,  as  in  display=type,  by  the 
proportional  number  of  A's  or  a's — as,  "A  three=A 
or  a  four=  A /"<?;£/,"  *'  An  eight=a  font." 

foot.  That  part  of  a  piece  of  type  on  which  it  stands 
when  set  as  distinguished  from  its  face,  shank,  or 
shoulder. 

foot=stick.  A  wooden  or  metal  strip  placed  between  a 
chase  and  the  foot  of  imposed  columns  or  pages  to  re- 
ceive the  pressure  of  locking^up  screws  or  quoins. 


122  The  Preparation  of  Manuscripts 

form.     Type,    engravings,    plates,    etc.,    imposed    in  a 

chase — as,  "  A  form  of  eight  pages." 
foul.     Full  of  errors  ;  dirty:  said  of  a  proof. 
foundry.     That  part  of  a  printing-office  in  which  type  is 

cast  from  metal. 
frame.     An  open  framework  with  sides  inclined  at  the 

top  to  support  a  compositor's  case, 
frisket.     In  a  platen  press,  a  light  frame  between  the 

tympan  and  the  form,  to  hold  in  place  the  sheet  to 

be  printed. 
front  matter.     Ail  matter  in  a  book  that  precedes  the 

text  or  body-matter. 

full-faced.     Of  the  form  of  standard  body=type,  but  hav- 
ing the  heavy  lines  very  thick;  as,  a. 
full  point.     A  period. 
furniture.     Wooden  or  metal  strips  of  less  than  type* 

height  put  around  and  between  pages  of  type    to 

make  proper  margins,  and  fill  the  spaces  between 

the  pages  and  the  chase. 
gage.     A  notched  rule  used  to  regulate  the  length  of  a 

page  of  type. 
gage=pin.     A  pin  for  use  on  the  platen  of  a  printing* 

press  to  hold  the  sheet  in  proper  position, 
galley.     A  flat,  oblong  tray,  commonly  of  brass,  flanged 

on  one  or  both  sides  and  at  one  end,  for  holding 

composed  type. 
galley=proof.     An   impression   taken    from   type    on    a 

galley  :  sometimes  abbreviated,  galley, 
gather.     To    collect    and    place   in   consecutive    order 

the  signatures  of  folded  sheets  of  a  book  or  pam- 
phlet. 

goffer.     To  raise  in  relief,  as  leather. 
goffering.     Indented  ornamentation  or  tooling  on  the 

edge  of  a  book. 


The  Preparation  of  Manuscripts  123 

gold=tooling.       In    bookbinding,    ornamentation     with 

gold-leaf  by  tooling. 
gripper.     One  of  a  series  of  finger^like  clutches  on  the 

impression  cylinder  of  a  printing-press,  which  hold 

the  paper  in  place  while   the  impression  is  being 

printed. 

guard.     Same  as  BEARER. 
guide.     A  metal  strip  used  by  compositors  to  indicate 

the  next  line  of  copy  to  set. 
guillotine.     A  paper=cutting  machine  fitted  with  a  knife 

having  an  inclined  edge, 
gutter.     A  piece  of  printers*  furniture,  grooved  along 

its  upper  surface,  for  separating   pages  in   a   form. 

Called  also  gutter=stick. 
guttersnipe.     A   small,  narrow  poster  for  pasting  on 

curbstones. 

hair-line.     See  CERIPH. 

hair*space.     The  thinnest  metal  space  in  use. 
half  title.     A  short  title  heading  the  text  of  a  book,  or  a 

one=lined  title  on  a  full  page. 
hanging  indention.     Equal  indention  of  all  lines  of  a 

paragraph  except  the  first,  which  is  longer  than  the 

others. 
head*band.     A  decorative  band  at  the  head  of  a  page  or 

chapter  in  a  printed  book, 
headline.     A  line  of  type  set  above  the  text  to  which  it 

refers. 
head=stick.    A  straight  piece  of  furniture  at  the  head  of  a 

form  between  the  chase  and  the  type  or  other  matter. 
hell~box.     A  receptacle  for  broken  or  battered  type. 
impose.     To  arrange  or  place  in  a  chase  and  lock=up, 

as  pages  of  type. 
imposing-stone.     A  flat,  level  slab,  usually  of  stone,  on 

which  printers  impose  and  correct  forms  of  type. 


124  The  Preparation  of  Manuscripts 

imposition,  The  placing  and  arranging  of  set  matter, 
plates,  etc.,  into  columns,  pages,  or  the  like,  as  on 
the  stone,  in  proper  position  for  printing. 

imprint,  (i)  The  publisher's  name,  with  the  place  and 
generally  the  date  of  issue,  printed  in  a  book  or 
other  publication.  (2)  A  printer's  name  (and  usu- 
ally address)  on  anything  printed  by  him. 

indention.  The  setting  in  of  a  line  or  body  of  type  by 
a  blank  space  at  the  beginning  or  left  hand,  as  in 
the  first  line  of  a  paragraph. 

inferior.  Set  below  the  level  of  the  line,  as  small 
characters,  without  a  shoulder  below,  used  in  chem- 
ical formulas — as,  in  C4,  Dn,  the  ^  and  n  are  inferior 
characters. 

inset.  A  leaf  or  leaves  inserted,  as  in  a  book  or  news- 
paper; usually  an  offcut,  or  part  cut  off  from  the 
main  sheet  and  folded  in  with  it. 

italic.  Designating  or  printed  in  a  style  of  type 
in  which  the  letters  slope  toward  the  right  :  in- 
vented in  Italy  about  1500,  and  used  chiefly  for 
emphasis. 

jacket.     A  paper  wrapper  for  covering  a  bound  book. 

job-case.     See  CASE. 

job=office.  A  printing-office  where  miscellaneous  print- 
ing is  done. 

job=press.     Any  small  bed=and-platen  printing=press. 

job=printer.  One  who  does  miscellaneous  printing,  such 
as  cards,  posters,  handbills,  and  circulars. 

job=type.  Type,  especially  display-type,  adapted,  from 
its  size,  form,  etc.,  for  use  by  job=printers. 

journeyman  printer.  A  printer  who  has  completed  his 
apprenticeship  or  learned  his  trade. 

justification.  The  act  of  justifying,  adjusting,  or  fit- 
ting; adjustment,  as  of  type  in  printing. 


The  Preparation  of  Manuscripts  125 

justify.  To  adjust  or  make  even  by  spacing  properly, 
as  lines  or  a  column  of  type. 

kern.  That  part  of  a  type  which  overhangs  the  shaft 
or  shank,  as  in  an  italic/". 

kerned.     Having  a  kern:  said  of  a  letter. 

lay.  (i)  To  arrange  in  cases,  as  new  type.  (2)  To 
place  pages  on  the  imposing^stone  in  proper  order 
for  a  form. 

lead.  A  thin  strip  of  type=metal  or  brass,  less  than 
type-high,  used  in  composition  to  separate  lines. 

lead.  To  separate,  as  lines  of  type,  with  thin  metal 
strips,  or  leads.  Also,  to  lead  out. 

leaders.  Dots  or  hyphens  set  in  a  row  horizontally,  or  a 
dot  or  hyphen  of  such  a  row,  used  to  guide  the  eye 
from  one  side  of  a  page  or  column  to  the  other. 
Also,  a  type  containing  such  a  character. 

lean.  Not  admitting  of  earning  good  or  ordinary 
wages;  unprofitable — as,  type  of  which  an  unusual 
amount  is  required  to  fill  a  certain  space,  or  as  work 
requiring  extra  time  without  bringing  extra  pay. 

lean=faced.  Having  a  face  that  is  disproportionately 
narrow:  said  of  type. 

letterpress,  (i)  Printed  from  type,  as  distinguished 
from  matter  printed  from  plates.  (2)  Letters  and 
words  printed;  the  text  of  a  bo*ok  as  distinguished 
from  the  illustrations. 

ligatures.  In  writing  and  printing:  (i)  Two  or  more 
connected  letters — as,^f,  fi,  fl,  ffi,  <z,  usually  called 
by  printers  a  double  letter  or  logotype.  (2)  The 
character  to  indicate  connection  (^). 

line=former.  A  brass  or  metal  device  for  preserving  ac- 
curacy of  curve  in  curved  lines. 

linotype,  (i)  A  line  of  type  cast  in  one  piece;  a  type= 
bar  or  type=slug.  (2)  A  machine  for  producing 


126  The  Preparation  of  Manuscripts 

stereotyped  lines  or  bars  of  words,  etc.,  as  a  sub- 
stitute for  typesetting. 

live  matter.     See  MATTER. 

lock  up.     To  close  or  make  fast,  as  a  form  of  type. 

logotype.  A  type  bearing  two  or  more  letters,  a  syllable, 
a  word,  or  words. 

lower  case,  (i)  That  one  of  a  pair  of  cases  which  con- 
tains the  small  letters,  spaces,  points,  etc.  (2)  The 
small  letters  commonly  kept  in  a  lower  case:  often 
used  attributively.  Compare  CASE. 

mackle.  (i)  To  make  a  blurred  impression  of.  (2)  A 
spot  or  blemish;  also,  a  blurred  impression  as  from 
bad  press^work. 

make  ready.  To  prepare  a  form  for  printing,  as  by 
underlaying  and  overlaying. 

make  up.  (i)  To  arrange,  as  lines  of  composed  type, 
into  columns  or  pages.  (2)  The  arrangement  of 
such  type,  into  columns,  pages,  or  forms,  as  in  im- 
position. 

maker=up.  One  who  arranges  composed  type,  cuts,  etc. , 
into  columns  or  pages. 

make-up  rule.  A  brass  rule  having  a  projection  above 
the  middle  to  aid  in  handling  type. 

marble.  To  stain  or  color  in  imitation  of  marble,  as 
the  edges  of  books. 

marble-edged.  Having  edges  that  have  been  marbled: 
said  of  a  book. 

margin.  A  space  along  an  edge;  specifically,  the  blank 
space  on  the  edge  of  a  printed  sheet. 

matrix,  (i)  A  papier=mache,  plaster,  wax,  or  other  im- 
pression of  a  form  from  which  a  plate  for  printing 
may  be  made.  (2)  The  part  of  a  mold  that  forms 
the  face  of  a  letter. 

matter,     (i)  Type  that  is  set  or  composed:  when  it  is  yet 


The  Preparation  of  Manuscripts  127 

to  be  printed  from  or  to  be  electrotyped,  termed  live 
matter  or  standing  matter;  when  ready  for  distri- 
bution, as  after  use,  dead  matter.  (2)  Material  to 
be  set  up;  copy. 

measure.  The  width  of  a  page  or  column,  usually  given 
in  ems — as,  "  The  measure  was  22  ems  pica." 

mold.  A  matrix,  as  of  papier=mache  or  wax,  in  which 
castings  are  made. 

monotype.  Designating  a  form  of  typesetting  machine 
in  which  the  type  is  cast  or  set  in  single  letters,  as 
distinguished  from  one  that  casts  in  lines  or  bars  of 
words. 

morocco.  Leather  made  from  goatskins  tanned  with 
sumac,  used  for  binding  books;  as,  French  morocco, 
Levant  morocco,  and  Persian  morocco. 

mortise.  To  cut  out  a  space,  as  in  a  block,  so  that  type 
may  be  set  therein. 

music-case.     See  CASE. 

nick.  One  of  several  grooves  cast  in  the  front  of  the 
shank  of  a  type,  to  aid  in  placing  the  type  right  side 
up,  or  in  guiding  it  as  in  a  typesetting  machine,  or 
in  distinguishing  types  of  different  face  but  similar 
body. 

nipper.  A  clasp  or  gripper  in  a  printing=press  to  hold 
a  sheet  against  the  tympan. 

octavo.  A  book  or  pamphlet  in  which  the  sheets  are  so 
folded  as  to  make  eight  leaves.  Commonly  written 
8vo.  The  following  sizes  are  generally  recognized 
in  the  United  States:  cap  8vo,  4^X  7  inches;  demy 
8vo  $%  X  8  inches ;  imperial  8vo,  8}£  X  IJK  inches  ; 
medium  8vo,  6X9/^  inches,  the  size  usually  as- 
sumed when  8vo  is  written  without  a  limiting  ad- 
jective; royal  8vo,  6*^X  IO  inches. 

octodecimo.     A  size  of  book  in  which  each  sheet  makes 


128  The  Preparation  of  Manuscripts 

18  leaves  or  36  pages:  usually  written  l8mo,  and 
called  eighteenmo. 

off=cut.  (i)  A  surplus  margin  cut  from  paper.  (2)  A 
part  of  a  printed  sheet  cui  off  for  separate  folding. 

off  its  feet.  Out  of  perpendicular:  said  of  composed 
type  that  does  not  rest  evenly  on  its  base  or  foot. 

off=print.  (i)  To  reprint  an  excerpt,  as  from  a  maga- 
zine. (2)  A  reproduction  of  an  article  or  paragraph 
printed  in  some  publication  :  of  recent  coinage. 

offset.  To  smut  on  the  back,  as  in  printing  the  second 
side  of  a  sheet. 

open  matter.     Type  containing  much  open  space. 

out.  In  proof-reading,  printing,  etc.,  matter  omitted, 
or  the  place  where  such  omission  occurs. 

out  of  register,  (i)  Faulty  adjustment  in  position  of 
the  lines,  columns,  margins,  etc.,  on  one  side  of 
a  page  or  leaf  with  those  on  the  other  side. 
(2)  Incorrect  relation  of  the  colors  in  color-printing, 
so  that  one  color  overlaps  or  falls  short  of  its 
proper  position. 

overlay.  A  piece  of  paper  placed  on  the  tympan  of  a 
press  to  make  the  impression  heavier  at  the  corre- 
sponding part  of  the  form,  or  to  compensate  for  a 
depression  in  the  form. 

overrun.  To  alter  the  arrangement  of  composed  types 
by  driving  letters  or  words  into  another  line,  or 
lines  into  another  column  or  page:  caused  by  the 
removal  or  correction  of  matter  already  set. 

packing.  Rubber,  paper,  millboard  or  other  substance 
used  on  the  impression-surface  of  a  printing-press 
between  the  metal  and  the  sheet  to  be  printed. 

page=cord.  Twine  used  to  tie  around  a  page  of  type 
and  keep  it  assembled,  so  that  it  may  be  conve- 
niently handled. 


The  Preparation  of  Manuscripts  120 

pallet.     Same  as  TYPE-HOLDER. 

parallel  rule.  A  type=high  brass  rule,  the  face  of 
which  shows  two  parallel  lines  of  the  same  thick- 
ness: (  ~). 

peel.  Formerly,  a  T-shaped  implement  used  in  han- 
dling freshly  printed  sheets. 

perfecting^machine.  A  printing-press  that  prints  from 
a  roll  of  paper  both  sides  of  the  sheet  at  one  pas- 
sage through  it,  especially  one  that  also  folds, 
pastes,  and  delivers  the  sheet,  as  in  newspaper 
form. 

perforating  rule.  A  dentated  type-high  brass  rule  used 
for  perforating  paper  which  it  is  desired  to  tear 
apart,  as  in  check=books. 

pi.  Type,  sometimes  also  rules,  furniture,  etc.,  that 
has  been  upset,  dropped,  or  otherwise  disarranged 
so  that  it  can  not  readily  be  used  until  assorted. 

pick.  A  spot  on  a  printed  sheet,  usually  caused  by  a  par- 
ticle of  ink,  dirt,  or  paper  adhering  to  the  form, 
though  sometimes  through  a  defect  in  a  plate. 

pick-up.  Standing  matter  that  is  used  again,  and  is 
counted  as  new. 

plane.  To  bring  the  surface  of  a  form,  etc.,  to  a  level, 
as  of  type,  with  a  planer  and  mallet  :  used  usually 
with  down,  and  said  of  cuts. 

planer.  A  smooth  wooden  block  used  for  leveling  a 
form  of  type  or  for  taking  proofs  (for  this  use  hav- 
ing the  face  covered  as  with  felt),  by  laying  it  on 
the  surface  and  tapping  it  with  a  mallet. 

plate.     An  electrotype,  or  stereotype  ;  an  illustration. 

platen.  The  part  of  a  platen-press  that  presses  the 
paper  upon  the  form  to  obtain  an  impression. 

platen-press.  A  printing-press  on  which  the  form  and 
paper  are  both  on  flat  surfaces. 


130  The  Preparation  of  Manuscripts 

plate  proof.  A  proof  of  type=matter  that  has  been  taken 
from  a  plate. 

play.  To  set  up  on  a  type-setting  machine — as,  'The 
copy  was  played  at  the  rate  of  30,000  ems  a  day." 

point.  A  short  perpendicular  pin  on  a  printing=press 
for  piercing  a  sheet  of  paper,  so  that  when  the 
second  side  is  printed  the  point-holes  may  come  in 
the  same  place,  thus  insuring  correct  register. 

point  system.  A  standard  system  of  sizes  for  type* 
bodies,  996  points  of  which  are  equal  to  35  centi- 
meters, and  one  point  is  .0138  inch,  as  adopted  by 
the  Type-founders'  Association  of  the  United 
States,  and  which  has  almost  wholly  displaced  the 
former  system. 

press.     A  printing-machine. 

pressman.  A  man  who  has  charge  of  a  printing* 
press. 

press=proof.  The  last  proof  taken  before  printing; 
also,  a  proof  taken  with  special  care. 

press-revise.     A  revise  of  a  press-proof. 

press-room.  A  room  where  the  presses  are  kept,  as  dis- 
tinguished from  a  composing=room. 

press-work.  The  operating  of,  or  the  work  done  by  a 
printing-press. 

printer's  mark.  An  engraved  device  of  a  printer  or 
publisher,  serving  the  purpose  of  an  imprint. 

printing-press.     A  printing-machine. 

quadrat.  A  piece  of  type-metal  lower  than  the  letters, 
used  in  spacing  between  words  and  filling  out  blank 
lines.  Commonly  abbreviated  quad. 

quarto.  A  book  or  pamphlet  the  pages  of  which  are  of 
the  size  of  the  fourth  of  a  sheet;  a  size  made  by 
twice  folding  a  sheet,  which  then  makes  four  leaves: 
often  written  4to  or  4°. 


The  Preparation  of  Manuscripts   131 

quoin.  A  wedge,  usually  either  solid,  of  wood,  or 
slotted  and  in  pairs,  or  pieces  of  metal,  by  which  to 
lock  up  or  fasten  type  in  a  chase  or  galley. 

quotation.     Any  piece  of  metal  furniture  of  small  size. 

quotation=mark.  One  of  the  marks  placed  at  the  be- 
ginning and  end  of  a  quoted  word  or  passage.  In 
English  usage  one  or  two  inverted  commas  (  •  ,  ") 
mark  the  beginning  of  a  quotation,  and,  correspond- 
ingly, one  or  two  apostrophes  (  '  ,  "  )  the  close. 

ratchet.  A  tool  with  a  notched  blade  used  by  printers  in 
clamping  a  stereotype  plate  to  its  block. 

recto.  A  right-hand  page,  as  of  a  book.  Ordinarily 
the  odd=numbered  pages  are  the  rectos,  and  the  even* 
numbered  the  reverses. 

reference=mark.  A  symbol,  letter,  or  figure  used  to 
direct  the  reader  from  the  text  to  a  note  or  to  a 
section  or  page  of  an  appendix. 

register,  (i)  Exact  correspondence  or  adjustment  in 
position  of  the  lines,  columns,  margins,  etc.,  on  one 
side  of  a  page  or  leaf  with  those  on  the  other  side. 
(2)  Correct  relation  of  the  colors  in  color=printing, 
so  that  no  color  overlaps  or  falls  short  of  its  proper 
position. 

reglet.  A  thin  wooden  strip  made  less  than  type=high, 
and  used  for  making  space  between  lines,  as  in 
poster=printing,  or  to  fill  blank  spaces. 

revise,  (i)  To  compare  with  a  previous  proof.  (2)  A 
proof  for  revision. 

reviser.  One  who  revises  literary  works  or  printers' 
proofs. 

ride.  To  be  impressed  upon  another  color,  as  in  lith- 
ography or  color-printing  when  colors  overlap. 

roll,  (i)  A  hand^tool  for  making  a  continuous  line, 
usually  having  a  brass  wheel  with  a  rim  cut  to  the 


132  The  Preparation  of  Manuscripts 

desired  pattern.  (2)  The  cylinder  of  a  printing- 
machine:  an  untechnical  use. 

roller.  A  rod  covered  with  an  elastic  composition  or  with 
felt,  used  in  applying  ink  to  printing^surfaces;  also, 
a  leather=covered  rod  used  in  lithographic  printing. 

roman.  A  style  of  ceriphed  type  or  letter  whose  chief 
characteristic  is  its  perpendicularity  and  the  greater 
thickness  of  its  upright  strokes  than  of  its  hori- 
zontal strokes:  the  most  familiar  form  of  letter  in 
books  and  newspapers;  also,  a  black  gothic  letter 
used  by  the  ancient  Romans. 

rounce.  A  cylinder,  usually  of  wood,  with  a  crank  and 
strap  attached  for  moving  back  and  forth  the  bed 
of  a  hand=press. 

rout.  To  cut  out  or  away  by  scooping  or  gouging,  as 
mackle  in  a  plate  or  the  like,  to  improve  the  printed 
impression. 

rule,  (i)  A  metal  strip  for  handling  type;  as,  a  com- 
posing=rule.  (2)  A  strip  of  type=high  metal  (usually 
brass)  for  printing  a  rule  or  line;  also,  the  impres- 
sion of  a  line  on  the  printed  page. 

rule=case.     See  CASE. 

run  in.  To  omit  paragraphs  or  breadlines  to  save 
space;  or  to  alter  the  position  of  type,  as  to  fill  a 
vacant  space. 

running  head.  A  headline,  as  of  a  chapter  or  an  ar- 
ticle in  a  book  or  periodical,  repeated  at  the  head  of 
succeeding  or  alternate  pages. 

running  title.  A  title  or  headline  repeated  at  the  head 
of  succeeding  pages,  as  throughout  a  book  or  chapter. 

scale.  In  the  printing  trade,  a  minimum  schedule  of 
wages  fixed  by  the  International  Typographical 
Union. 

schedule,     (i)  A  list  of  printed  pages,  the  folios  of  which 


The  Preparation  of  Manuscripts   133 

are  checked  off  as  pages  (after  correction)  are  sent 
to  foundry  for  casting.  (2)  A  list  of  topics  or  illus- 
trations furnished  as  a  guide  to  their  order  or  posi- 
tion in  making  up  the  pages  of  a  book. 

script.     Type  in  imitation  of  handwriting. 

set=off.  A  smut  transferred  from  a  freshly  printed  sur- 
face to  another  sheet,  or  to  the  second  side  of  the 
same  sheet,  as  through  the  medium  of  a  smutted 
tympan.  Called  also  offset.  The  action  of  thus 
smutting  is  often  called  setting  off. 

sew.  To  fasten  together  the  sections  of  a  book  with 
needle  and  thread,  as  distinguished  from  stitch  and 
wire. 

sewing.  The  fastening  together  of  the  sections  of  a 
book  by  passing  a  thread  through  each  section  at 
its  central  fold  and  returning  it,  after  drawing  it 
tight  over  each  band,  on  the  back  of  the  sections: 
done  for  each  band. 

sextodecimo.  A  book  or  pamphlet  having  16  leaves  to 
the  sheet,  the  pages  being,  in  size,  usually  4}^  X  6^3 
inches;  hence,  loosely,  a  book  having  that  size  of 
page. 

shank.  The  body  part  of  a  type,  as  distinguished  from 
the  shoulder,  face,  or  foot. 

sheep's  foot.  A  pressman's  tool  having  a  square  ham- 
mer-head on  one  end  and  a  claw  on  the  other:  used 
in  prying  up  forms,  etc. 

sheet=work.  Presswork  in  which  the  two  sides  of  a  sheet 
are  printed  from  different  forms. 

shooting-stick.  A  wooden  or  metal  stick,  often  with  a 
notch  in  one  end  and  a  head  on  the  other,  to  be 
struck  with  a  mallet,  for  driving  quoins. 

shoulder.  The  top  of  the  shank  of  a  type  when  extend- 
ing above  or  below  the  face  of  the  letter. 


134   The  Preparation  of  Manuscripts 

side-stick.  A  wooden  or  metal  bar  placed  at  the  side 
of  the  type  in  a  form  or  galley,  and  commonly 
beveled,  for  use  in  conjunction  with  tapering  wooden 
quoins  in  locking  up. 

signature,  (i)  A  distinguishing  mark,  letter,  or  number 
placed  usually  at  the  bottom  of  the  first  page  of 
each  form  or  sheet  of  a  book,  to  indicate  its  order 
to  the  folder  and  binder.  (2)  Hence,  the  form  or 
sheet  on  which  such  a  mark  is  placed,  considered  as 
a  fractional  part  of  a  book — as,  "  The  work  is 
printed  in  20  signatures." 

single  rule.  A  type-high  brass  rule,  the  face  of  which 
shows  a  single  line:  ( ). 

sink.  To  depress  or  drop  the  upper  part  of  a  page, 
as  at  the  beginning  of  a  chapter,  below  the  level  of 
the  full  pages. 

sinkage.  The  blank  space  allowed  above  type  matter, 
as  at  the  beginning  of  a  chapter. 

sixteenmo.  Same  as  SEXTODECIMO.  Often  written 
i6mo. 

skiver.  Leather  split  with  a  knife  ;  particularly,  the 
grain  side  of  split  sheepskin,  used  for  book- 
binding. 

slice^galley.  A  galley,  usually  of  wood,  with  a  sliding 
false  bottom  to  facilitate  the  transfer  of  composed 
type  to  or  from  an  imposing=stone. 

slug,  (i)  A  strip  of  type=metal  thicker  than  a  lead,  and 
less  than  type-high,  for  spacing  matter,  supporting 
the  foot  of  a  column,  etc.  (2)  A  strip  of  metal  bear- 
ing a  type-high  number:  inserted  by  a  compositor 
at  the  beginning  of  a  take  to  identify  the  matter  set 
by  him.  (3)  The  person  who  sets  a  piece  of  matter 
marked  by  a  slug. 

slur.     A  blurred  portion  of  an  impression. 


The  Preparation  of  Manuscripts  135 

small  capitals.  A  letter  of  a  form  similar  to  capitals, 
but  smaller,  being  usually  equal  in  height  to  the 
body  of  the  small  or  lower-case  letters. 

smudge.  A  blur,  as  on  a  proof,  from  the  smearing  of 
wet  printer's=ink. 

smut.  A  stain,  as  from  wet  printer's-ink.  Compare 
SET-OFF. 

solid.  Having  no  leads  or  slugs  between  the  lines — as, 
"  A  solid  page  of  type." 

sort.  A  type  or  character  considered  as  a  portion  of  a 
font,  with  reference  to  the  number  or  quantity  on 
hand  or  in  case  :  usually  in  the  plural.  Copy  is  said 
to  be  hard  on  sorts,  or  to  run  on  sorts,  when  it  re- 
quires an  unusual  number  of  certain  characters. 

space.  A  type  of  less  than  type=height,  and  thinner 
than  an  en  quadrat,  used  to  separate  words,  etc., 
as  in  a  line.  Spaces  are  known  as  3=em,  4  em,  $ftm, 
or  6=em,  as  their  thickness  is  a  proportional  fraction 
of  an  em.  The  3=em  spaces  are  also  called  thick 
spaces,  the  4=em  and  5=em  thin  spaces,  and  6=em  or 
thinner  hair  spaces.  A  patent  space  is  made  inter- 
mediate between  a  3=em  space  and  an  en  quadrat. 

space=box.  One  of  the  boxes  in  a  printer's  case  in 
which  spaces  are  kept. 

space-mark.  A  proof-reader's  mark  ($)  indicating  that 
a  space  or  more  space  is  to  be  inserted. 

space  out.     See  DRIVE  OUT. 

space-rule.  Brass  or  type-metal  single  rule  cut  to  even 
ems  and  ens  of  length:  used  in  table-work. 

squabble.  To  skew  or  twist  composed  type  so  as  to 
mix  the  lines;  disarrange,  as  standing  matter,  with- 
out completely  pieing. 

standing  matter.     See  MATTER. 

stem.     An  up-and-down  stroke  of  a  type*face  or  letter, 


136   The  Preparation  of  Manuscripts 

especially  of  a  lowercase  letter;  as,  a  q  with  a 
broken  stem. 

stereotype,  (i)  To  cast  a  plate  in  stereotype=metal 
from  a  matrix.  (2)  A  cast  or  plate  taken  in  stereo- 
type-metal  from  a  matrix,  as  of  paper  or  plaster, 
reproducing  the  surface  of  that  from  which  the 
matrix  was  made. 

stereotype  plate.  A  plate  made  by  stereotyping  :  usu- 
ally about  one-sixth  of  an  inch  in  thickness,  de- 
signed to  be  set  on  a  block  for  printing. 

stereotype  press.  A  stereotyper's  mold,  having  a  bed 
for  the  matrix  and  a  platen  which  is  screwed  against 
bearers  placed  between  the  bed  and  platen. 

stet.  To  restore  something  previously  deleted:  orig- 
inally an  imperative  :  done  in  proofreading  by 
marking  with  the  word  stet  and  with  a  line  of  dots 
under  matter  to  be  retained:  a  direction  to  a  printer 
or  copyist. 

stick.     See  COMPOSING-STICK. 

stitch,  (i)  To  pass  the  thread  through  and  through  the 
back  of,  as  distinguished  from  SEW.  (2).  A  fasten- 
ing, as  of  thread  or  wire,  through  the  back  of  a  book 
or  pamphlet,  to  connect  the  leaves. 

stone.  An  imposing-stone,  whether  made  of  stone  or 
metal. 

stone-hand.  A  compositor  employed  in  imposing  forms 
and  in  similar  work  around  the  imposing-stone. 

sub.     To  act  as  a  sub  or  compositor's  substitute. 

sub=list.  A  list  of  the  subs  or  substitute  printers  who 
are  allowed  to  supply  the  places  of  regular  compos- 
itors in  an  office  without  notice  to  the  foreman  or 
proprietor. 

superior.  Set  above  the  level  of  the  line:  said  of  type; 
thus,  in  C4,  Dn,  the  4.  and  n  are  superior. 


The  Preparation  of  Manuscripts   137 

table  matter.  Type,  whether  letters,  words,  or  figures, 
set  in  tabular  form. 

take.  The  quantity  of  copy  taken  at  once  by  a  com- 
positor for  setting  up;  also,  the  type  reproducing  it. 

token.  A  measure  of  quantity  of  sheets  of  paper  used 
in  presswork,  varying  from  240  to  500  sheets,  but 
commonly  250,  or  ten  quires:  now  little  used. 

tooling.  Ornamentation  of  or  on  book^covers  by  im- 
pressing designs  with  heated  tools. 

trim.  To  make  orderly  by  removing  excrescences  and 
ragged  edges ;  cut  or  lop  off  the  superfluous  parts  of. 

turn.  A  type  set  wrong  end  upward,  to  indicate  where 
a  letter  or  character  of  the  same  thickness  is  to 
beplaced  later  on:  thus,  "  Fig.  ™";  also,  one 
turned  wrong  side  up,  as  <4<e."  Called  also  turned 
letter. 

turtle.  A  stout  frame  in  the  form  of  a  segment  of  a 
cylinder,  used  to  hold  the  type  in  a  type=revolving 
web  press,  the  whole  taking  the  place  of  the  ordi- 
nary form. 

tympan.  A  thickness  (or  more  usually  several  thick- 
nesses), as  of  paper  on  the  impression=surface  (as 
the  platen  or  impression=cylinder)  of  a  printing^ 
press,  usually  serving  as  a  basis  for  overlaying  and 
cutting  out  to  improve  the  quality  of  the  press= 
work. 

type=bar.  A  line  of  type  cast  in  one  piece,  as  in  lino- 
type or  typograph;  a  linotype;  type*slug. 

type^body.  The  body  part  of  a  type,  especially  as  con- 
sidered with  relation  to  its  depth  (see  POINT  SYSTEM) 
or  width. 

type=casting.    The  casting  of  metal  type  for  printing. 

type=cutter.  One  who  engraves  the  dies  or  punches  for 
metal  types. 


138   The  Preparation  of  Manuscripts 

type*cylinder.  A  cylinder  in  some  forms  of  printing* 
machines  to  which  the  type  is  attached  in  turtles. 

type*dressing.  The  process  of  cutting  off  the  bur  and 
dressing  away  the  roughness  from  newly  cast  type. 

type=founding.  The  manufacture  of  metal  type  for 
printing.  Called  also  letter*founding. 

type*foundry.  An  establishment  in  which  metal  type  is 
made.  Called  also  letter*foundry. 

type*gage.  (i)  One  of  various  gages  used  in  testing 
the  accuracy  of  type  in  point  of  size.  (2)  A  type* 
measure. 

type=high.  Of  the  standard  height  of  type;  of  a  proper 
height  to  print  with  type:  said  of  stereotypes,  wood- 
cuts, etc. 

type*holder.  A  bookbinders'  holder  for  use  in  hand* 
stamping.  Called  also  pallet. 

type=matrix.  An  attachment  to  a  type-founders'  mold 
in  which  the  face  of  a  type  is  cast. 

type=measure.  (i)  A  rule  graduated  to  correspond  with 
the  depths  of  various  type=bodies,  used  in  calculating 
the  number  of  lines  or  ems  contained  in  composed 
type.  (2)  A  printed  card  giving  the  number  of  lines 
of  type  of  various  sizes  in  a  certain  space. 

type*metal.  The  alloy  of  which  types  are  made,  usually 
lead,  tin,  and  antimony,  in  various  proportions, 
sometimes  with  a  small  percentage  of  copper  or 
nickel. 

type=mold.  A  steel  box  made  in  two  sections,  having  a 
matrix  for  forming  the  face  of  the  letter. 

type*scale.     A  type*measure. 

typograph.  A  machine  for  making  type*bars  as  a  sub- 
stitute for  movable  types  in  composition;  a  line* 
casting  machine  for  doing  the  work  of  a  typesetting* 
machine. 


The  Preparation  of  Manuscripts   139 

uncut.     Having  untrimmed  margins:  said  of  a  book. 

underlay.  A  piece  of  paper  or  card  placed  or  pasted 
under  certain  types  or  parts  of  a  cut,  in  a  form,  to 
bring  them  up  to  the  proper  level. 

upper  case,  (i)  That  one  of  a  pair  of  cases  which  con- 
tains the  capitals,  small  capitals,  accents,  fractions, 
etc.  (2)  Capital  letters:  often  attributively.  Com- 
pare CASE. 

verso.     A  left=hand  page.     Compare  RECTO. 

wave  rule.  A  type=high  brass  rule,  the  face  of  which 
shows  a  wave  line:  (-^~~~^). 

white  line.     A  blank  line  filled  with  quadrats. 

white  page.     A  blank  page. 

wire.  To  fasten  together  the  signatures  of  a  book  with 
wire  instead  of  thread. 

wrong  font.  Belonging  to  some  other  font:  said  of  a 
type  that  is  not  of  a  corresponding  size,  face,  etc., 
with  those  with  which  it  is  in  contact:  usually  abbre- 
viated— w.  f. 


INDEX 


PAGE  PAGE 

Abbreviations 3       Bite     . 114 

Accents 41  Blair  on  punctuation   ....      37 

Action  in  fiction 96,  97        Blank  line 14 

Advance^sheets 113       Blanket 14 

Advertising 94~96        Bleed 14 

Agate 68       Blind=tooling     14 

Aldus  Manutius  and  Punctua-  Block 14 

tion 37        Board 14 

Alterations  in  man  uscript  .   .       3        Body 15 

American  Association  for  the  Bold-faced  type 4,    15 

Advancement  or  Science  .39 how  to  indicate 4 

American  and  English  words  Bookbinding,  choice  of  .       .01 

of  disputed  spelling  .   .  .    15-21  .     —  material  for 01 

American  Philological  Asso-  Book*clamp 115 

ciation 25       — plate 115 

Antiquarian 73       —stamp 115 

Apostrophe,  use  of 53  Books,     the     copyrighting 

Ascending  letter 113  of 103-112^ 

Asterisk 41       —  press  copies  of 99 

Asterism 42  —wear  and  tear  of  ...    101,  102 

Atlas 73        Boss 115 

Author,  corrections  he  pays  Bourgeois 67,  68 

for 10       Box 4,  115 

—  duties  of 99       Brackets 42 

—  how  he  can  help 98       Brayer 119 

Author's  proof 59,  113       Break*line 115 

—  relation  to  publisher  .   .91,  102       Breve 41 

—  taste  in  typography,  illus-  Brevier 68 

trations,      and     bookbind-  Brief 73 

ing 100,  101       Brilliant 68 

Broadside 115 

Band 113       Burr 115 

Bank 113 

Bastard  title 113       Cabinet 115 

—  type 113       Cancel 115,  116 

Batter 113       Canceled  matter 6 

Beard 113       —type 116 

Bearer 114       Canon 69 

—  "line 114      Cap 116 

Bed 114       —case 116 

Bevel 114  Capitalization,  rules  govern- 

Bigelow,    John,    on    William  ing 34,  36 

Cullen  Bryant's  proofs  .   .     59  Capital  letters,  how  to  Indi- 

Binder's  title 114          cate 4,  34 

Binding,  choice  of 101       Card 116 

Binding,  material  for    ....    101      Caret 5,41,53,61,116 


141 


142 


Index 


PAGE  PAGE 

Case 16  Copyright  of  illustrations  .  83,  109 

Cast«off 16       Correction 118 

Casting-box 16       Corrections 8,  9,  59,  60 

Catch*line 16       —  author  pays  for 10 

—  -word 16       Counter 118 

entry 17  Cover  and  cover*designs  .   .   .    101 

Ceriph 17       Crown 73 

Chapel 17       —  folio 72 

Chapter  headings,  how  to  in-  Crushed 118 

dicate 3  Curves  (parentheses) .   .   .   .  41,  52 

Charges  to  authors 10       Cut 77,  118 

Chase 117       —  -in 118 

Chemical    terms,    reform    in  Cylinder 118 

spelling  of 29 

Circumflex 41       Dabber 118 

Classification     of     copyright  Dagger 41 

works 105       Dash,  the 40,41,50 

Clicker 117       — various  uses  of 50 

Cockatoo,  curious  example  of  Dead  matter 118 

indexing  story  of  a 56       Deckle*edged 118 

Collate 117       Dele 118 

Colombier 73       Delete .   .    119 

Colon,  various  uses  of    .   .  40,  48-49       Deletion 61 

Colophon 117       Demy 73,  74 

Color  lithography,  cost  of  .   .      82       Dentelle 119 

—  of  ink  best  to  use i  Deposit   of   Books   to  secure 

—  printing 82  copyright 107-110 

Columbian 69       Descending  letter 119 

Column  rule 117  Deviations   from  manuscript 

Comma 40          charged  to  author 10 

— various  uses  of 43-47       Devil 119 

Composing 117  De  Vinne  on  punctuation    .  38,  40 

—  "frame 117       Diamond 68 

—  *room 117       Dieresis 14,41,53 

—  -rule 117       Diesis 42 

—  "Stand 117       Distribution 119 

—  -stick 118       Ditto  mark. 119 

Composition 118       Dotted  rule 119 

Computation   of    space   occu-  Double 119 

pied  by  a  manuscript  ...  70,  71  —  crown 73,  74 

Condensed 118  —dagger,  the 42 

Confession,  A  Publisher's  .  .  94  —  demy 73,  74 

Contents 6,  76  —  elephant 73 

Contract,  what  it  embraces  .  89  —  folio 73 

Copper  engraving 82  —  foolscap 73,  74 

Copy •  •  73,  118  —letter 118 

Copyholder 118  —  medium 73 

Copyright,  deposit  of  books  to  —  post 74 

secure 107,  no       —  royal 73,  74 

—  duration  of 112       — rule 119 

—  in  Great  Britain,  how  to  se-  Doublet 119 

cure ii2#       Draft 73 

—  infringement,  how  to  avoid    97  Dramatization,  rights  of  .   .     89 

—  in  the  United  States,  how  Drive  out 119 

to  secure 103-112^       Dummy 119 


Index  143 


PAGE  PAGE 

Duodecimo 72,  120       Foolscap 73 

Duties  of  authors 99       Foot 121 

—  -notes 6 

Karle  on  punctuation  ....     38       —  -stick 121 

Ecphoneme,  the 41,  51        Form 122 

Editing  manuscript,  what   it  Forwarding  of  manuscript .     88 

includes 2       Foul 122 

Educational  Association,  Na-  Foundry  .   .    .  . 9,  122 

tional,  and  simplified  spell-  Frame 122 

ing 12,  13       Frisket 122 

Eighteenmo 127       Front  matter 75,  76,  122 

Electrotype 120       Full-faced 122 

—  plate,  corrections  in  ....       9       Full  point 122 

—  plates,  when  made  ....       9       Full-stop 49 

—  shell 120        Funk,  Dr.  I.  K 12 

Elephant 73  Funk  &  Wagnalls  Company, 

Elimination  of   matter,  how  rules    governing    orthogra- 

to  indicate 6,  61  phy  adopted  by 14,  15 

Ellipses 42        Furniture 122 

Em ....    120 

Emerald 69       Gage 122 

Emperor 73       —  -pin 122 

En 120       Galley 122 

End-paper 120       —  proofs 8,  122 

English 69       Gather 122 

English  and  American  words  Gelatin  process    for  illustra- 

of  disputed  spelling.   .   .    15-21  tions 82 

Eroteme.the 41,50  Geographic    Names,     United 

Errata 76          States  Board   on 29,  30 

Estimate  of  space  occupied  by  Glossary  of  terms  in  printing 

a  manuscript 70,  71  and  binding 113-139 

Etymological  punctuation  .  .     41       Goffer 122 

Excelsior 49       Goffering 122 

Exclamation 41,  51       Gold-tooling 123 

Expense,  how  to  save  ....       2  Grammatical  punctuation  .   .     40 

Extended 120       Grave  accent 41 

Extracts,  how  to  print  ....       7  Great  Britain,  how  to  secure 

—  secure  permission  to  make     97  copyright  in nai 

duration    of    copyright 

Face 120          in 112^ 

Fat 120        Gripper 123 

Feed 121        Guard 123 

Feeder 121       Guide 123 

Feed-gage 121        Guillemets 41,  51 

Fiction 96,  97       Guillotine 123 

Figures,  inferior 42,  124       Gutter 123 

—  superior 42, 136       —  -snipe 123 

Finger 121       — -stick 123 

Flat  cap 73 

Flush 121       Hair-line 123 

Fly 121       — space 123 

Folio 121        Half-title 123 

—  (paper) 73       —  tone 80, 100 

Folios,  how  to  mark  omitted.  6,  7 cost  of 82 

Font 121 process 81 


144 


Index 


PAGE  PAGE 

Hanging  indention 123       Justification 124 

Head-band 123       Justify 125 

Head-line 123 

—  -stick 123       Kern     kerned i2f 

Hell*box 123 

High-spaced 66 

Homonyms 22-24       ±<ay  •  •   •   • I25 

Hypi^ 4.  j£f.p°?; ::;::::: ;  I2753 

leaders 125 

Illustrations 77-^4       I^ean,  lean-faced 125 

—  comparative  cost  of  ....     81       Better-founding 137 

—  copyright  of 83 foundry 138 

—  forwarding  of  .   ......      77        —press 125 

—  how  to  indicate  position  in  Betters,  superior 42 

text 5  I^ibel,  authors  to  avoid  ....      97 

—  how  to  indicate  position  in  I^ibelous  matter 97 

proof 77,  78       ligatures 125 

—  list  of 80       linotype 125 

—  reproduced  by  color  proc-  I^ive  matter 126 

esses 81        I,ock-up 126 

Imperial 73,  74       logotype 126 

Impose 123       I^ong  primer 68 

Imposing-stone 123       lowercase 126 

Imposition 124       ^owspaced 66 

Imprint 124 

Indention 124  •Mn^if*                                           T>& 

Index,  the  making  of  an.   .    54-58  Macron  the'   ' 

I  : ;        :  I 

j  1^:2 

I  Make-up  rule 126 

•  , 

j  af w 

Insurance  of  manuscript's  .   .     88  ^J™2l'i«cr'  «f  ******  fl    ! 

33SS$gSS&   '  =S?  fo  author  wit"  * 

InYeTrogaiion.  '.  '.  '.   '.   '.   '.  '.   »%  -^ubmitting'of/forpubUca- 

*™«'.^    33 

—  how  they  are  read 84 

Jacket 124       —  insurance  of 88 

Japanese  writing-paper  ...      72       —  paper  for I 

Job-case   . 124       — preparation  of .  i-io 

—  -office 124       Maps,  copyright  of 105 

—  -press 124       Marble 126 

—  -printer 124       —  *edged 126 

—  -type 124       Margin 126 

Journeyman  printer 124       —  where  to  allow i 


Index 


145 


PAGE 

Matrix  ............    126 

Matter  ............    126 

JJeasure    ...........    127 

Medium     ..........    73,  74 


PAGE 

Paper,  coated  .........     81 

—  for  manuscript  ......          i 

-  names  and  sizes  of.    .  .   .    72-74 


Minionette  ..........     69  Paragraphs,  how  to  indicate  .       3 

Mivart,  example  of   over-in-  Parallel,  the  .........     42 

dexing  ...........     56  —rule    ............    128 

Mold  .............    127  Parentheses,  the  ......  41,  52 

Monotype    ..........    127  —  various  uses  of  .......     72 

Morocco    ...........    127  Pearl  .............     68 

Mortise  ............    127  Peel  ..............    129 

Mushroom  firms  .......     85  Perfecting  machine  .....    129 

Music-case  ..........    127  Perforating  rule  .......    129 

Musical   compositions,    copy-  Period,  the  .........    40,  41 

right  of    .....  104-105,110-111  —  various  uses  of  ......     49 

Periodicals,  copyright  of  105, 

Names,  proper,  how  to  write      6  109-112 

National    Educational    Asso-  Philological  Society  of  Kng- 

ciation  and  simplified  spell-  land    ...........     25 

ing  ............   12,  13  Photographs,     copyright     of 

New  edition,  copyright  of    105-106  105,  107-108 

Nick    .............    127  —  the  forwarding  of  .....     77 

Nonpareil  ...........     68  Photogravure  .........     82 

Note  of  exclamation  ....  41,  51  Pi  ...............    129 

-  —  interrogation    .....  41,  so  Pica  ..............     68 

Notes,  foot*  ..........     ^6  Pick  ..............    129 

Notes,  side*    .........  4,  5  Pick-up  ............    129 

Novel  .............     87  Plane  .............    129 

Planer    ............    129 

Obelisk,  the  ..........     41  Plate  .......   ......    129 

Octavo,  various  sizes  of   .   .72,127  —  corrections  in  .......       9 

Octodecimo  ..........    127  —  -proof  ............    129 

Off-cut    ............    127  Platen    ............    129 

Off  its  feet    ......  ....    128  Platen-press   .........    129 

Off-print  ...........    128  Play  ..............    129 

Off-set    ............    128  Point  .............    129 

Old  English   .........     72  —  system  ..........  67,  130 

Omissions,  how  to  mark  (see  Position    of    illustrations    in 

also,  out,  in  Proofreading)  .  6,  63  proof  ...........  77,  78 

Open  matter  .........    128  —  of  illustrations  in  text.   .   .       5 

Orthography  .........  i,  n  Post.    ............   73,  74 

—  changes  in  American  ...      n  Poster-printing,  types  for  .   .     66 
Out  ..............    128  Pott  ..............     73 

—  of  register  .........    128  Preparation  of  manuscript    .   i-io 

Overlay  ............    128  Press  copies  ..........     99 

Overrun    ...........    128  Press-proof  ..........    130 

Overrunning  .........      10  —  -revise  ...........    130 

—  -room    ...........    130 

Packing  ............    128  Press-work  ..........    130 

Page-cord  ...........    128  Printer,  how  to  secure  best  re- 

—  -proofs  sent  to  authors  .   .       9  suits  from    .........  3-10 

—  ^proofs  returned  by  authors      9  Printer's  mark  ........    130 

Pages,  making  up  type  into  .       9  Printing-papers,     sizes     and 

Paging  manuscript  ......       i  weights  of   ........    72-74 

Pallet  .............    128  —-press  ............    130 


146 


Index 


PAGE  PAGE 

Prints,  copyright  of  .   105,  107-108       Roll 131 

Proof,  author's 8,  59       Roller 131 

Proof-reader's    corrections  Roman 131 

shown 64        Rounce 132 

Proof-reading 59,  60       Rout 132 

John  Bigelow  on  ....     59       Royal 73,  74 

faults  to  be  avoided  in  .     60       Royalties 89 

Proofs,  first,  second,  third,  etc.    59       Rubber  type 66 

—  keeping  record  of 8       Ruby 69 

—  symbols    used    in  correct-  Rule 132 

ing 61,  62,  63       —case 132 

—  01  illustrations 77,  78  Rules   for  simplification    of 

Proper  names,  how  to  write  .       6  spelling,  the  eleven  .   .   .    25-28 

Publication,  terms  of 88 use  of  the  comma  ....     43 

Publicity  as  an  aid  to  the  sale  —  governing  capitalization    34-36 

of  books 94-96,  98,  99 orthography  in  printing 

Publisher  and  the  trade    ...     99  offices  and    publishing 

—  choice  of 85          houses 13-15 

—  proportion    of    expense  to  reform   in    spelling    of 

profit 92  chemical  terms 29 

Publisher's  Confession,  A    .   .     94 spellings  of  geographic 

Publisher's  artists,  designs  for  names 30-33 

illustrations  furnished  by  .     77       Run  in 132 

—  readers 92-94       Running  head 132 

Publisher's  relation  to  author    91       —  title 132 

Punctuation 37~42 

—  close 39       Scale 131 

—  examples  of 43~53       Schedule 131 

—  for  reference 41,42       Script 132 

—  kinds  of 39~42       Section,  the 42 

—  open 39,40       Semicolon 40,47-48 

Quad 130  —  various  uses  of  the  ...  47  48 

euadrat 130  Serials,  copyright  of  .    105,108,111 

uarto 72,  130       Set-off 133 

Quoin 130       Setting=off 133 

Quotation-marks,  the,  41,  51-52,130       Sew 133 

various  uses  of 51       Sewing 133 

Sexto-decimo    .   . 72,  133 

Ratchet 131       Shank 133 

Recto 131       Sheep's  foot .   .    133 

Reference-mark 131       Sheet  and  half  post 74 

Reform  in  spelling  chemical  —  -work 133 

terms 29       Shooting-stick 133 

Register 131       Shoulder 133 

—  of  copyrights 103  Side-head,  how  to  indicate  a  .       4 

Reglet 131 illustrated 4 

Results  from  printer,  how  to  Side-note,  how  to  indicate  .    .       4 

secure  best 3-10 illustrated 5 

Reviewer's  copies,  publisher  Side-stick 133 

sends  out 99       Signature 76, 133 

Revise 131  Signs     used    for     correcting 

Rhetorical  punctuation    ...      40  proofs 61,62 

Ribbon,  best  color  of,  to  use  Simplified  spellings  .  12-21,  25-28 

for  manutyping i American  publishers  and 

Ride 131  printers,  and 13-15 


Index 


147 


PAGE  PAGE 

Single  rule 134  Suggestions    to    authors    on 

Sink 134  proof,  how  to  make    ....     62 

Sinkage 134       Superior 136 

Sixteenmo 134       —  figures 42 

Sizes  of  type 66-69       —  letters 42 

—  how  to  indicate  smaller  .   .       7       Super  royal 73 

Skiver 101,134  System  of  punctuation  evolved 

Slice*gallev 134          by  Aldus  Manutius 37 

Slug    ..." 134 

Slur 134       Table  matter 136 

Small  capitals 134  —  of  contents  to    accompany 

how  to  indicate  them  .   .       4  manuscript v.    .   .   .       6 

Small  pica 68       Take 136 

Smudge 134  Taking    out    pages    from    a 

Smut 135  manuscript 6 

Solid 135  Technical  terms,  how  to  write      6 

Sort 135  Terms  of  publication  ....     88 

Space 135       Three-quarter  box 4 

Space-box 135       Token 136 

Space*mark 135       Tooling 137 

Space  of  manuscript,  comput-  Translation,  rights  of  ....     89 

ing 70  Transposition     of      illustra- 

Space  out 135  tions,  costliness  of 79 

rule 135       Trim 137 

Spelling u-23        Turn 137 

—  Reform  Association  ....      25       Turtle 137 

Spellings     adopted    by    the  Tympan 137 

Funk    &    Wagnalls    Com-  Type,  how  to  indicate  smaller     7 

pany 14-15       —  'bar 137 

Spelling,  simplified.     See  un-  —  -body 137 

der  simplified.  —  -casting 137 

Spellings  of  the  United  States  —  -cutter 137 

Board     on     Geographic  —  -cylinder 137 

Names,  the  principles  gov-  — -dressing 137 

erningthe 30-33  Typefounders  Association  of 

vSquabble 135  the   United  States 67 

"Standard   Dictionary"  and  Type-founding 137 

U.  S.  Board  on  Geographic  —  -foundry 138 

Names 33       —  -gage •*....    138 

simplified  words  in  .   .    12,25       — -high 138 

Steel  engraving 82       — -holder 138 

Stem 135       — -matrix 138 

Stenotone 41       —  -measure 138 

Stereotype 135       —  -metal 138 

—  plate 136       —  -mold 138 

Stet 61,  136  —  pages   when    reading     for 

Stick 136  casting 9 

Stitch 136       —  -scale 138 

Stone 136  —  standard,  necessity  for  .   .     67 

Stone-hand 136  Typesetting-machines  ....     66 

Style 2,  39,  96,  97        Types,  sizes  of 66-69 

Sub 136       —  varieties  of 68,  69 

—  -list 136       Typograph 138 

Submitting  a  manuscript  to  Typographical  marks  exem- 

publisher 85-88  plified  and  explained  .   .    60-65 


148 


Index 


Typography,    author's    taste 

concerning 100 

—  possibilities  of 100 


Uncut. 138 

Underlay 138 

Unit  of  measurement  ....  67 
United  States,  how  to  secure 

copyright  in 103-1 12# 

duration  of  copyright 

in ii2-ii2# 

Upper  case 138 


Value  of  advertising 94 

Verso 139 


PAGE 

Wave  rule 139 

Wendell  on  punctuation  ...     39 

White  line 139 

White  page 139 

Wire 139 

Wood,  engravings  on  ....     80- 
Words  affected  by  movement 
for  simplified  spelling  .   .    15-21 

—  forms   of,  adopted  by  the 
National  Educational  Asso- 
ciation    12,  13 

Writing,  careless    .   .   .   .   .   .  i,  60 

—  ^papers,  sizes  and  weights    73 
Wrong  font 139 

Zinc  etching 80 

Zincography 83 


', 


ERSITY  OF  CALIFORNIA.  LIBRARY 


